The very name “Street Art” evokes powerful and often contradictory ideas. On one hand, it represents a break from official, institutional art; on the other, these works—once born in opposition to cultural institutions—are now welcomed and celebrated by that very system. Artists hiding behind pseudonyms, sometimes sought after by both collectors and the authorities, recall historic figures like Caravaggio: beloved, yet always on the run.
Street Art’s roots are both ancient and noble: from prehistoric cave paintings to medieval frescoes, from postwar Mexican muralism to fascist propaganda murals in Italy. What they all share is the idea of art as public and accessible. In the 1970s, after Augusto Pinochet’s coup in Chile, muralism emerged as a political and collective force: antifascist and solidarity-themed murals were often created by associations or activist groups.
Alongside imagery, writing also became central. May 1968 in France brought slogans like “Be realistic, demand the impossible,” while the Indiani Metropolitani in 1977 championed irony as a creative weapon. Around the same time in New York City, writing—the direct predecessor of Street Art—was born. Tags (signatures) multiplied rapidly on trains and walls. Countless styles emerged, and artists like Taki 183 became incredibly famous.
In the 1980s, writing began breaking into institutional spaces. In Kassel, Germany, during the Documenta exhibition, the works of two young Americans destined to make history were shown: Jean-Michel Basquiat and Keith Haring. Both came from the streets—and both became icons.
In Italy, the writing phenomenon exploded in the 1990s, alongside the rise of true Street Art. Techniques, styles, and the perception of legality began to shift. Painting on walls stopped being seen only as vandalism, and new tools joined the spray can: posters, stencils, stickers, and installations.
The first global street artist was—and still is—Blek le Rat from France, a pioneer of stencil art on paper. But it was Banksy who became a contemporary legend: ironic, provocative, and shrouded in mystery. Alongside him stand artists like Shepard Fairey (aka Obey), a master of poster art, and JR, known for his monumental photographic installations. All began as outlaws and went on to receive major international public commissions.
Murals remain, of course, the most spectacular medium. In Italy, the most celebrated is Blu, considered among the world’s best. From France came Invader, with his video game–inspired mosaics scattered across the globe.
Street Art, once born in the streets, is now found in museums, auctions, and catalogues. Yet despite its partial institutionalization, it continues to live in urban spaces, to engage with communities, and to deliver socially impactful messages. It is a free, constantly evolving art form—one that never stops questioning our times.
