In recent years, China's growing cultural industry has significantly enhanced the region's cultural level and recognized public art and continues to develop the creative industry in various Chinese cities (except Beijing, Shanghai, and Canton). Through large-scale international public art exhibitions, each city in China intends to increase its cultural competitiveness, establish an image, and develop its cultural tourism industry and cross-border cultural exchange. By doing so, they hope to produce a combined movement toward creating a sustainable cultural art industry. This study examines the strategies undertaken to conduct the exhibition for the public art installation, the Rubber Duck, by Florentijn Hofman. In particular, it focuses on Hofman's Chinese agencies and the exhibition organizers in the city of Hangzhou and investigates whether random public art indicators influence the estimated effects prior to the exhibition and if there are actual benefits after the exhibition. This study evaluates profits and investments using net present value, internal rate of return, and game options. An analysis of existing mathematical models reveals that such models can provide analytical results across varying time periods. The results of the present model can help decide whether one should invest or turn down an exhibition in a given city.