In New York, the New Museum has reopened with its expansion by Rem Koolhaas and Shohei Shigematsu, pulling in steady lines of architecture watchers and contemporary art pilgrims. The opening exhibition, “New Humans: Memories of the Future,”sets out to parse what it means to be human as technology redraws the terms, gathering more than 200 contributors across art, science, and film—an experience that is by turns enthralling, overwhelming, poetic, and brutal.
Spanish artist Gonzalo Borondo, from Valladolid, arrives at LuzMadrid Festival with Redentora, a site-specific installation that continues his steady movement from the street into more complex, immersive environments. Early on, Borondo was working directly on walls, glass, and found surfaces—scratching, layering, and revealing figures that appear to surface from within the material itself. That sensitivity to place and surface has stayed with him – and expanded. Whether in abandoned buildings, museum settings, or public squares, his eyes read the space and lets the work grow out of it.
“The show must go on”—a line that neatly captures a certain myth of winning through force of will. For a century, the West has exported that self-image alongside its markets and its currency: adversity as performance, persistence as virtue.
The famous yet anonymous Banksy has finally been revealed—at least according to a lengthy new piece in Reuters. Over the years, the elusive street artist has weighed in on the plight of Palestinians, Ukrainians, and African and Syrian refugees, and has often returned to the images of children as a symbol of hope, innocence, and loss. At the moment, as events around the world turn darker by the day, few seem to be talking about his wry interventions.
Fairey’s own framing is rooted in the experience of living inside a constant feed. “I’m confronted with an overwhelming number of images and messages daily,” he says, and these works feel like a mature and practiced response to that condition: taking the barrage and compressing it into symbols you can hold in your mind—icons and archetypes that keep circling back to peace, justice, and environmental responsibility. Hung in salon-style groupings that orbit shared themes, the installation lets the pieces talk laterally, collectively radiating like planets in the darkness—separate bodies, shared gravity.
Across its pages, Hyuro’s central concerns appear with clarity: the social conditions imposed on women, the quiet violence embedded in political systems, and the fragile dignity of ordinary lives. With descriptive texts and personal observations, the writing make these motivations explicit. A mural in Fortaleza, Brazil examines the criminalization of abortion and the way the female body becomes “usurped territory” by the state; another, in Monteleone di Puglia, recalls a wartime uprising led by women protesting food restrictions under fascism.
So you have to expand your vision to discover something new if you are trekking through our dirty old town. Travel to new parts of the city, and consider how space is occupied by creativity in other ways, like the community murals full of historical heroes of the culture, and like the ‘casitas’ our photographer, Jaime Rojo, shot in Harlem this week. This city never stops surprising you, and art on the street is sometimes not what you might narrowly define it as.
Daze’s world has always been kinetic—its energy drawn from the tracks, tunnels, and streets that once defined New York City’s pulse. Dazeworld: The Artwork of Chris “Daze” Ellis captures that charge across four decades of work, documenting his evolution from teenage train writer to established painter and mentor. Published by Schiffer, the 168-page monograph gathers over 250 photographs—many previously unseen—that chart an artist moving between public space and private reflection.
The tone is proudly local and distinctly Catalan. The organizers speak of “acostar l’art a la gent”—literally “bringing art closer to the people”—and the festival itself embodies the phrase “fer poble,” a Catalan expression meaning to strengthen the life of the village through collective participation.
ZUHANEAN HANEANZU treats authorship as a negotiated, collective condition—and turns the friction of togetherness into the content. The result feels less like finished statements and more like documents of collaboration: four voices choosing, again and again, to speak as one without pretending they’re identical.
Also, check out Say She She, a Brooklyn trio of female singers who are part of a larger 70s disco and soul revival a la Nigel Rodgers and Chic. They played at Greenpoint’s Warsaw last night, followed by an afterparty at Williamsburg’s Baby’s Alright. Video at the end of this article.
Here’s our weekly interview with the streets, including RnO, City Kitty, Chris RWK, ZOVER, KRS, The Postman, DELUDE, TwoFive, OH!, RIBET, HELCH, WILD WEST, and Robinson Moreno.
They didn’t merely deinstall it. They buffed it—campus-style. Brown paper over glass, a quiet little blackout, like a night crew rolling beige paint across yesterday’s burner and calling it “maintenance.” The only twist is the location: not a freeway underpass, but a university gallery that’s supposed to teach young artists what it means to put their artwork and ideas into public circulation—so they can be seen and debated.
Seizing the moment after a high-visibility Super Bowl performance, street artist Alberto León created a wheatpaste titled “America” in Barcelona. The piece is tightly composed and references several of the instant memes that followed the event, touching on themes of unity, fulfilled promises, the cultural force of patriotic sports spectacle, and the racial tensions stirred by reactions on the political right. It shows Bad Bunny holding the hand of his younger self, offering
Here’s our weekly interview with the street, this week featuring Appleton Pictures, Atomik, BK Foxx, Chuck U, Dee Dee, EASC, Homesick, IMK, NESC, and Siner One.
You sense immediately that this is not about spectacle; It is about returning—physically and emotionally—to the path that shaped him, and offering it back to others as a place for healing. Hopefully as a healing for him also.
Dreams, butterflies, lightning bolts gathering in a storm. Abuelitas speaking of healers who could heal a whole town. The wind moves through two harmonicas like spirits passing through a doorway. “Sound is really powerful,” he says, “a universal way of experiencing healing.”
Worlds of Phantasmagoria, Vol. 1 is a comprehensive exploration of the monochromatic works of Ukrainian artist Vladimir Manzhos, known as WAONE. Spanning the years 2013 to 2020, this 208-page hardcover book provides a chronological view of his artistic evolution. It highlights his transition from large-scale, colorful murals in public spaces to intricate black-and-white compositions created in the studio.
The book features a range of works, including murals, ink drawings, etchings, and lithographs, each accompanied by detailed narratives from the artist. These descriptions provide insight into WAONE’s creative process and the philosophical themes that underpin his work. Drawing inspiration from mythology, folklore, science, and personal introspection, his pieces weave together surreal imagery with symbolic depth.
LOVE LETTERS TO THE CITY at Urban Nation Museum, Berlin
A newly released Interview snippet with curator Michelle Houston and Steven P. Harrington from the opening of the exhibit toys with the question of where art belongs and who gets to decide.
Here is our weekly interview with the street, this week featuring Caer8th, Chapa, D*Face, DOS Prague, ELOHS, MIOW, SEUK Prague, Smutty, TIBO!, and Urban Ruben.
Taken together, they form a dispersed system of signals—drawings, slogans, jokes, IDs (a writer’s tag repeated again and again), confessions, quotations—each carrying intent.
Some are one-off images, painted or drawn as if on miniature canvases. Others are produced in runs, repeated, and distributed across the city. One may deliver a political demand, a poetic longing, or a non-sequitur legible mainly to its author. None of them can claim permanence, yet their accumulation suggests a continuity of commentary.
Here’s our weekly interview with the street, this week featuring Acet, Dah Face, DASH, DELUDE, DIKS, DINK, FLASH, Hal Merick, Homesick, Kane, Mike, No Normal, Os Gemeos, Quaker Pirate, Trisan Eaton, Uwont, and Xara Thustra.
ENAMUR ART returned this January to Les Franqueses del Vallès with its 4th edition, continuing to build a locally rooted, artist-led platform for graffiti, music, and shared experience. Hosted in a municipality in Catalonia, Spain, located in the province of Barcelona and situated along Carrer de la Serra, the jam once again activated a long concrete wall as a public canvas, reaffirming the event’s commitment to graffiti as a lived, social practice – and naturally, some spectacle. What began as a modest initiative has grown into a recurring meeting point for writers, painters, neighbors, and friends from across the region.
The current program is structured like a three-part argument, each section reinforcing the next: the foundation of UGA-era legitimacy, the long arc of a writer who outlived the rules and the era that formed around graffiti, and a parallel street-writing tradition from Brazil that insists on its own terms. Around those anchors, interstitial context stations—about Subway Art, about a “Hall of Fame,” about what writing is when it’s more than a product—and those do real work in a short visit, especially when the museum is closed, and you’re not fighting a crowd.
The physical temperature here in NYC is low, but the rhetorical temperatures are spiking across the land. The battle for freedom is in the courts and Congress and in the streets again, with the demonized and disenfranchised reeling back on their heels. When pressure like this builds, it surfaces everywhere at once—across institutions and culture, on ballots, in courtrooms, and eventually on the street—because culture absorbs, and sometimes rejects, what power attempts to normalize.
Spanning twelve years of studio and mural work, public interventions, installations, and collaborations, Los cimientos de la armonía y de la invención is Escif’s most comprehensive book to date, and possibly his most deliberate. At 600 pages, this massive, clothbound volume is both an archive and a slow meditation, mirroring the artist’s own evolution from a clever, idea-driven street painter into a conceptual provocateur whose understated gestures leave wide, lingering ripples of interpretation. Drawing its title from Vivaldi’s Il cimento dell’armonia e dell’invenzione, the book positions Escif’s art as both experiment and orchestration—a counterpoint of humor and grief, silence and confrontation, metaphor and material.
Brooklyn Street Art: What are you working on here today, and why did you choose this approach for this wall? Mick La Roc: I’m doing a traditional New York–style name piece. Style writing. Just my name.
Brooklyn Street Art:This wall turned into a group effort pretty quickly. Who ended up painting with you today? Mick La Roc: I’ve been really lucky. Nikki, who has worked closely with Lady Pink over the years, is here with me, which I really appreciate. And then a few guys from the scene stopped by—people I know—telling me their New York stories as they’re living them right now. I asked if they wanted to help out, and they jumped in. That was really nice.
This week’s BSA images pull together some of the stronger graffiti writers we’ve seen lately, cutting across the range of lettering styles, holding weight on the street right now. From hard-earned handstyles and burners to sharper, more graphic approaches, they sit next to illustrators and pop-culture–driven characters that know how to travel beyond the sketchbook. Sharpened and smart, this work made for public space, shaped by repetition, risk, and a clear sense of visual authority.
So here is our interview with the street, this week including Atomiko, Dirt Cobain, DJJS1, Elena Rose, Jamie Hef, Jest, Keds, Klonism, Mena Ceresa, Meres One, MUL, PHYBER, Queen Andrea, Skewville, Souls NYC, TOPAZFTR, and Zulimar Mendoza.
Wynwood Walls made its presence felt throughout Miami Art Week with a familiar mix of new murals, established names, and a thematic frame titled ONLY HUMAN. As crowds moved between fairs, pop-ups, concerts, dance floors, bars, receptions, painting jams, and private events, the Walls once again operated as both one of the primary anchors and an amplifier for street art during Art Basel week.
We welcome your ideas, submissions, and invitations.
From shows and festivals to panels and classrooms—we go there. For nearly two decades BSA has been curating exhibitions, moderating panels, giving lectures, contributing essays, founding libraries, launching scholarships, MC’ing events, climbing walls, slipping fences, and drinking cheap beer at a bonfire by the train tracks.
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From the street, the studio, the museum, and the stage, BSA leads an inquisitive global conversation on street art, graffiti, and contemporary urban art 2008-2026
Welcome to the BSA Family: from the Street, Gallery, Museum & Library BSA Images Of The Week: 03.22.26 In New York, the New Museum has reopened with its expansion by Rem Koolhaas and Shohei Shigematsu, pulling in steady lines of architecture watchers and contemporary art pilgrims. The opening exhibition, “New Humans: Memories of the Future,”sets out to parse what it means to be human as technology redraws the terms, gathering more than 200 contributors across art, science, and film—an...
BSA + Martha Cooper + UN Present the MCS 2027 Call for application to our 3rd Scholarship for Photography Named in honor of photographer Martha Cooper—whose lifelong commitment to documenting everyday life, cultural expression, and human dignity has shaped how communities around the world are seen and understood—the Martha Cooper Scholarship (MCS) supports long-form documentary photography that reflects shared human experience and social responsibility. For the 2027 cycle, the Foundation...
