On the central hub of Ban Jelačić Square, a man turns the handle of a barrel organ, surrounded by onlookers. Krešimir crosses instead to a scruffy corner of Tkalčićeva Street off the square. It has paste-up artworks of a strutting red fish and a girl with a mop of orange hair holding a spraycan. A stencilled girl throws a Molotov cocktail of love-hearts. A lamp-post is a kaleidoscope of multicoloured stickers. To insiders like Krešimir, such “interventions” are artists’ calling cards; the red fish is an icon of Italian artist Merioone, for example. That isn’t the point, though.