The aim of billboards is to create a meaningful relationship with their viewers. Such relationship needs the involvement of the spectator’s attention in a set time, in order to let them be guided by the billboard´s performance, by the story that is told. Otherwise, if observers are not trapped on the billboard´s plot, the former relationship will always be broken. This achievement can only be reach by exploiting the magic of the image that is represented there.

The working method of billboards therefore, is similar than of theatre.

As in theater, a billboard tied to the present. It is an art of the present because the ethereal or ephemera of its life depends on the moment of credibility that the viewer is prepared to place in the play. Also the idea of theater can be understood as an intermediate space, where a joining processing occurs between stage and spectator.

That transformation is the result of the exploration that the viewer makes through the possibilities planted by the argument of the message. This takes place through an exploration of the themes, gestures and actions that the message is representing, that the printed or projected work leaves and even through the examples of possible lives of those actors, topic and scenario that you see on distance.

As well as that, billboards mark and invade the life territory of spectators. Billboards then, intrude in people´s world with their presence, their argument and tone of voices, interpelating the gaze of the passerby.

A billboard hence is also real. Even though it may be broken or clogged, it leaves the witness and physical traces of its existence on the wall or from its pixels.

In summary, the existence of a billboard would be fragile, short and futile, but good billboard can achieve many things.