Graffiti may be a petty crime but its threat to value is an inventive one, for it forms a critique of the status of all artistic artifacts, indeed a critique of all privatized consumption, and it carries out that threat in full view, in repetition, so that the public has nowhere to look, no place to locate an averted glance.
And that critique is paradoxically mounted from a relentless individualism, an individualism which, with its perfected monogram, arose out of the paradox of all commodity relations in their attempt to create a mass individual; an ideal consumer, a necessarily fading star.
The independence of the graffiti writer has been shaped by a freedom both promised and denied by those relations — a freedom of choice which is a freedom among delimited and clearly unattainable goods.
While that paradise of consumption promised the transference of uniqueness from the artifact to the subject, graffiti underlines again and again an imaginary uniqueness of the subject and a dissolution of artifactual status per se.
–Susan Stewart, “Ceci Tuera Cela: Graffiti as Crime and Art” (1987)