Mona Lisa 

Editor: So, this is a piece called "Mona Lisa" by Blek le Rat, a painting using stencils and spray cans. What strikes me immediately is the clever subversion of a high art icon through street art techniques. What do you see in it? Curator: Well, immediately the appropriation of Da Vinci’s “Mona Lisa” comes to mind. Blek le Rat places this globally recognized image, traditionally housed within the institution of the museum, onto the street—effectively democratizing and politicizing its accessibility. The added spray can in Mona Lisa's hand also speaks volumes about the artist taking ownership. How does the act of "vandalism" transform the established order, do you think? Editor: That’s fascinating. I guess I hadn't considered it in terms of its radical accessibility. Does that reposition her, or street art more broadly, in the art world? Curator: Absolutely. This type of work critiques the established hierarchies. The Mona Lisa becomes a canvas, a vehicle for street art's own commentary on the very structures that exclude it. We should ask if this reproduction empowers her, or if it serves mainly the artist's ego to desecrate cultural icons and bring a low form into parity. What's your take? Editor: It seems like both are happening simultaneously. The power comes from how recognizable she is, but it's transformed through the graffiti. It raises questions about value. Curator: Precisely. And where value is located, whether it's on the wall of the Louvre or a city building, who gets to assign it, and who benefits from it. Seeing that interaction gives a whole new perspective, don't you agree? Editor: Yes! I’m going to look at street art a lot differently now. Thanks for the insight!