Downtown Houston became a touch prettier with the unveiling of a new mural Wednesday. But it’s unclear how long the city’s newest art installation will remain in place.

Harris County Judge Lina Hidalgo and Commissioner Rodney Ellis unveiled a massive mural created by international artist INO titled, “Fly Away.” The mural—which features a woman dancing with a globe above her head—is located on the side of the building located at 1820 Milam St., the site of a now-abandoned Days Inn (former Holiday Inn) hotel. Adding a piece of artwork to an unoccupied eyesore is a nice touch from Houston officials. But other Houston politicians appear to eye demolition over beautification.

Per emails obtained by ABC 13 in Houston last August, Mayor John Whitmire’s office pushed to remove “dilapidated buildings” in downtown Houston, the Days Inn being one the dilapidated buildings in question. The 2025 Houston public works budget set aside $20 million for demolitions of dangerous buildings, though the building at 1820 Milam didn’t fit the specific guidelines to be deemed dangerous by city code, per ABC 13. The building remained intact as a result, though it’s unclear if a demolition effort is in place for 2026.

Chron could not reach Whitmire, Hidalgo or Ellis’ office as of Thursday morning. 

Perhaps INO’s mural will remain on the side of the vacant building at 1820 Milam for years to come, largely thanks to inaction from the city. But Houston residents, at least on social media, didn’t exactly seem to thrilled about the mural, regardless. Commenters on X decried the mural as a waste of public funds, frustrated by a new art piece high above the ground while those on Houston’s streets struggle financially. 

“These murals serve as a reminder of the poor leadership and grift from this group of Harris County politicians,” one commentor wrote. Another added, “art is great but the idealism behind it is mute because material conditions continue to get worse everyday for everyone so f–k you.”

INO’s new piece is impressive. It’s also now plenty divisive, though more to the fault of Houston’s politicians than the artist itself.