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Digital technology enables us to prospect, generate, assemble and share eclectic materials, creating virtual journeys, stories or exhibitions through the internet, viewed on computer but also on location via mobile devices. How does the ability to create and curate in this way enhance or transform our access to and understanding of art, as well as our experience of place? What kind of meanings are we making for ourselves and others? And how are the creative responses of audiences viewed and valued in relation to the museum's curated collection? This article explores these questions through the development of Art Maps, a web and mobile application that enables people to locatively and creatively explore the relationship between art and place. Through participant research we are examining possibilities for a more open approach to interpreting Tate's digitised collection of art, testing the notional democratic shift from the museum as keeper of knowledge to co-creator with the audience.What questions do I ask myself as I stand on the site of Rachel Whiteread's 1996 series 'Demolished', looking at this work on my iPhone? What stories are evoked or erased in the creation and contemplation of Whiteread's work? How does my knowledge of the exact location and the event, as a Hackney resident who stood and watched the towers fall in 1995, inform my experience and my response? What am I inspired to make as I look at the present day view, and compare it with the artist's creation?These questions are part of the motivation behind Art Maps, a collaborative research project exploring how the public might relate artworks to places.

This article presents ArtMaps, a crowdsourcing web-based app for desktop and mobile use that allows users to locate, move and annotate artworks in the Tate collection in relation to one or more sets of locations. Here the authors show that ArtMaps extends the 'space' of the museum and facilitates a new, pluriperspectival, way of looking at art.Leonardo Just Accepted MS.