BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
Graffiti is a living monument—an act of doing rather than keeping.
Rafael Schacter has been offering an alternative to institutional monumentality in his latest book Monumental Graffiti (2024). He buttressed his alternative view during his keynote speech for the New York 2025 Tag Conference (BSA is a sponsor). To a packed audience at the Museum of the City of New York, Schacter talked about a monumentality that is grounded in community, embodiment and the acceptance of transience as truth.
In his talk and his book, the London-based art historian argues that monuments and graffiti can illuminate each other: monuments don’t need to be grand or permanent, but can be understood—as their Latin root monere suggests—as acts that remind, advise, or warn. Drawing on counter-monuments and non-Western traditions, he would like to redefine monuments as socially and emotionally engaging public artifacts that may be ephemeral, community-driven, and conceptually monumental rather than physically imposing.
Using images and examples from streets around the world, Schacter, who is also the author of The World Atlas of Street Art and Graffiti, furthers his vision by exploring how graffiti can itself be a monumental form, demanding public attention and reframing both graffiti and monuments as cultural acts that mark and speak socially. He then examined memorial practices within graffiti culture, where community-created walls and tributes function as grassroots monuments that commemorate loss and address social issues.
A curator and theorist of urban art, Schacter expands on this, distinguishing between spraycan memorials—visible, collective, and community-respected—and memorial tags, which he describes as intimate, cryptic gestures of remembrance shared within the subculture. Schacter contrasts these living practices with the illusion of permanence accorded institutional monuments, showing how graffiti’s embrace of impermanence subverts traditional ideas of stability and authority. Finally, through his discussions of memory through disappearance and the memorial tag as embodied memory, he proposed that graffiti’s transience itself becomes a vessel for remembrance, where memory endures not in material form, but in repeated acts of writing, risk, and presence.
We asked Schacter about the nature of monuments in graffiti and street art—whether an illegal wall piece can ever transcend vandalism, what happens when a tag vanishes, who decides what deserves to be remembered, and whether a true monument is built from the ground up or imposed from above.
BSA: If graffiti can be a monument, what happens to the idea of permanence? You describe monuments as “reminders, warnings, and advice” rather than fixed objects. For people used to thinking of monuments something of bronze, stone, or concrete, how could one reconcile the beauty of graffiti’s impermanence with our instinctive desire to preserve something that we value?
Rafael Schacter: Great question! So many points I could spend hours unpacking! But, to keep myself focused, the key thing to note here is that preservation is by no means only related to permanence; i.e., the relationship between remembering and forgetting on the one hand and presence and absence on the other, is really not so straightforward:
Is it not true that things that are ever-present are often the most easy to forget?
In many cultures outside the West, for example, destruction is something that is core to techniques of commemoration – the heat of destruction burning memory into mind. And in cities crammed with institutional monuments, with thousands of bronze men on horseback, is it not the case that they often seem to, in fact, provoke amnesia!
Is it not a fact that things that become absent are often the most intensely memorable?
I totally agree that graffiti’s impermanence can be beautiful (often physically so, in terms of the way it degrades and becomes part of its surroundings), but more than just beautiful, its disappearance can lead to a heightened sense of memory; let alone push the focus towards the beauty of practice and performance and not just the beauty of the final image itself.
BSA: Who decides what’s worthy of being a monument? Normally it is the decision of institutions or governments, but this new path suggests others may decide what is worthy of monumentalizing. A monument created bottom up or top down – which is a truer monument, or is that a silly question?
RS: Ha! Not silly at all! I’m currently in the middle of teaching my lecture course on public art, and this is a critical part of what we’re discussing. So yes, in most of our cities, this is in fact a legal question – in England, for example, there is what is termed the Schedule of Monuments, a list defining and delimiting what appears under this term, and there is specific legislation surrounding what happens if an artefact is within the list. But, as you say, monuments – monuments as public artefacts or inscriptions that remind, advise, or warn us – come not just from the State but so too from the grassroots. Sometimes these non-state monuments can become formally sanctioned, but whether they do or not, they can be incredibly powerful forms that exist far beyond the necessity or even visibility of officialdom. Which form is ‘truer’ or more ‘authentic’ is always context specific, however.
But all I personally know is that I can be moved more by a spontaneous shrine than by an institutional memorial, by the handwritten note attached to a bouquet of flowers laid by the side of a monument than I could be by the monument in itself! More than anything I just want to move us away from only seeing these permanent, stoney, neo-classical public sculptures as monuments, and in fact see the way monuments can exist through diverse materials and in diverse locations outside of the confines of officialdom.
BSA: If a tag disappears, does the monument die—or does it live in memory? Certainly its disappearance and decay impacts its ability to have lasting impact.
RS: How do we remember things? Do we remember from looking at them? And how do we look at them? Do we look differently when we know something is not going to last? But what about not just looking! Can we remember things through a set of gestures? Through a movement? Through a dance? Can we remember something via lighting a candle that we know will burn out?
When things disappear, memory can often burn even brighter – the presence of absence often being more powerful than physical presence itself. So yes! Disappearance effects visibility, the ability to be co-present with an image, but the image can live on both in the person that made that image as much as in those who saw it, and saw it knowing it would at some point disappear!
BSA: Does a city full of graffiti become a city full of monuments?
If we take the argument to heart, then every wall might hold a kind of public archive or memorial. Is a monument made by a vandal illegally still vandalism, or should it be honored and preserved for posterity?
RS: First, YES – when I say graffiti is a monument I mean that literally not metaphorically, and so absolutely yes, the walls of our cities are a constantly transforming archive that holds immense amount of information and history. Whether we term this vandalism or not actually makes no difference. (But is it not the overbearing monuments of the city that are themselves vandalism, themselves the destruction and the blight that damages our cities – I mean, I can think of plenty of examples of large-scale public art that are total degradations of our public sphere). Yet that doesn’t mean I think graffiti should be preserved, absolutely not. Preservation, as I talk about in the book in terms of examples of indigenous material culture, can often itself be destructive. If you preserve something, freezing that thing in time, you can often be more likely to forget what it represents than if you let it naturally degrade. Preservation, then, can be destructive, and destruction preservative!
BSA: Graffiti has turned up in unexpected corners of sacred buildings — scratched into the walls of Christian churches, carved into stone lintels of synagogues. They may be names, coats of arms, or a portrait of the parish cat. When you think about these quiet, unauthorized marks across different faiths, how might your idea of graffiti as a kind of monument apply to them?
RS: I love the idea of what you term ‘quiet’ here. Because often it is the smallest, most marginal, minor forms of graffiti that can be the most powerful. Yes, big graffiti is GREAT, and often very overtly monumental (I’m thinking of the incredible work of RAMS MSK at the moment for example). But smaller marks can be monumental in their effect too, a tiny tag at the edge of a wall containing as much style as a massive masterpiece. So yes, monument is not simply about size. Bigger is not necessarily better. And sometimes it’s the smallest marks that cut the deepest!
Rafael Schacter. Monumental Graffiti. Tracing Public Art And Resistance in The City. The MIT Press. Massachusetts Institute of Thechnology. 2024. USA.
