The National Gallery attacks Trafalgar Square as a stage for rock concerts. As the Neo-Classical backdrop, it has an interest in the performance art that takes place on the stage in front of it. But a backdrop is not a playwright.

Since John Nash cleared the square for the Prince Regent, at the same time that the National Gallery was built, it has become the national arena for Londoners and visitors. What the Place de la Concorde is to Paris, what the Agora was to ancient Athens, what Time Square is to New York: Trafalgar Square is to London. And because of Nelson’s Column, it is the most immediately recognisable piece of townscape in the world.

It has always been the stage for vulgar (ie, public) activities. Its fountains were built not for aesthetic reasons, but in order to reduce the open space available and the risk of riotous assembly. Nash, failed again. Besides occasional riots, it is the national stage for victory and sporting celebrations, Christmas festivities and political rallies. It is London’s principal public place, esplanade and promenade; and so a stage for popular activities, including rock concerts.

National institutions, such as the Tates, the V & A and the British Museum, have popularised without losing excellence. The National Gallery hides one of the most eclectic collections of art in the world, from Giotto to Cézanne. Yet it has not grown up to the age of popular accessibility. It is like a familiar old friend whom you do not see very much, and don’t want to. Instead of preferring art to the people, it should put art before the people. The National Gallery should be able to attract the crowds that come for the popular attractions in the national forum outside its steps.