The film Fire-Followers is a quasi-documentary about a city plagued by fires for centuries. Although modern solutions have proved capable of preventing catastrophes, the inhabitants of the city continue to live in fear. In a television interview, an eminent art historian claims that the systematically recurring fires that devour works in the museum storage have become an intrinsic part of local artistic practice and condition its proper development – progress is impossible without fire and therefore the burden of legacy should be disposed of in order to enable young artists to create. It seems that the whole city is expecting art to burn. Museums, art galleries and private collections are thought to pose hazard. The inhabitants of the city dispose of sculptures and paintings, leave the districts with museums en masse and demand that public art collecting institutions close down. Although there is no evidence of a threat posed by art, an absurd fear of it affects the daily life of the city. Fire-Followers not only provokes reflection on the situation of universal social fear, but also on art’s impact on the society, the role and burden of legacy, as well as fear of art that advocates change and poses difficult questions.