Culture is an active process. It does not lie dormant in things (that is, any commodity, object or event that can be made to signify), waiting patiently to be awoken by an appropriate consumer. It is the practice and making of meanings. Culture is not in the object but in the experience of the object: how we make it meaningful, what we do with it, how we value it. John Storey (2003) Inventing Popular Culture, page viii The traditional arts, dance theater, music, visual arts and multi media are all accepted as being part of culture. In the same way that culture can be defined by the perceptions and feelings of each individual the arts belong to everyone. Bruno Frey (2003) in his book Arts and Economics: Analysis and Cultural policy considers the ways in which the arts are funded and supported and argues that a decision making system involving the diverse participants, audience, experts, artists and administrators is best equipped to establish and safeguard the constitutional rights to artistic expression (Frey, 2003:17). Can the experience of the arts be protected in the same way? This is an examination of the process, physical, historical and emotional issues that all play a part in the definition of the arts in Taipei. Entering the experience as a mother, artist, foreigner and long time resident of Taipei gave the researcher the opportunity to use many lenses simultaneously. This multifaceted view informed the choice of this topic. Can heritage sites and old buildings be successfully made into public arts venues? Do the underlying elements of history and conservation contribute to the venue’s ability to reach a large audience? Can free access be in part supported by in these sites through the use volunteers instead of paid staff? In order to better understand the role of the arts in contemporary Taipei life, the researcher, under the parameters of the Volunteer Services Act of Taiwan, conducted her research while a volunteer in the venues.