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In the sphere of contemporary commissioned art, created for urban or territorial projects, artists and sponsors change their respective ways of working as they come into contact with each other. We regard this as a “co-normalization” process that is supported by specific stakeholders and hybrid intermediaries. The latter group aims to change how artists and territorial sponsors work so as to alter how we experience, conceive of, and produce spaces to thus ensure the “aesthetic aspect of inhabiting” (Lazzarotti, Mercier, and Paquet 2016). Altering ways of working to improve effectiveness represents a newly engineered form of art. To understand the significance of these intermediaries, we will be studying a specific organization, namely the urban cultural institution ESOPA, looking in detail at its “glossary of cultural urbanism.” ESOPA strives to put a shared lexicon into action, going further than merely generating discourse. The goal is not only to showcase the creation of art, but to adapt the context in which it is created, making for an environment more conducive to an artistic form still in the periphery: spatial art.