For years, our understanding of street art has been incomplete. Some people reduce it to decoration, a tourist attraction, or a form of urban cosmetic enhancement. Others eye it suspiciously, viewing it as an unsolicited aesthetic imposition. But neither of these positions tells the whole story.

The fundamental issue is not whether a particular mural is widely liked or disliked, or whether a particular sculpture looks good in photos. The real question is this: how does an artistic intervention change the everyday experience of a town or city?

We are not just talking about the urban landscape, but about how a city can become more integrated, balanced and meaningful for those who live there. In other words, we are talking about quality of life. Urban art can (some would argue it must) introduce everyday beauty, serenity and reflection – things that symbolically activate public space in the service of subjective wellbeing.

Who gets to make urban art?

Well-known urban artists have never flown under the radar. Whether in informal art (such as graffiti) or more mainstream works, artists have always fervently asserted their authorship.

But what street art seeks to do above all else is generate headline-grabbing moments of surprise. Take Banksy’s Girl with Balloon, which captivated people because its simple, minimalist image, found on the street, was able to stir up a range of emotions, from loss and childhood nostalgia to hope and fragility.

Nevertheless, the presence of well-known names establishes a silent hierarchy. This means that artists like Taki 183, Keith Haring, Basquiat, Blek le Rat, Oldenburg, Banksy, OBEY and Kapoor are able to intervene in public spaces, while others are not. It is not enough to simply occupy a wall or produce any old image; it takes artistic skill, authorisation and negotiation, understanding of the context, responsibility, and the ability to create a meaningful experience.

But even among those who manage to make their mark in the public sphere, not every work........

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