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That's the thing with these artists - they really do want people to see their work, and to see it for free.'

Until now a contemporary artist's typical trajectory consisted of art school followed by gallery shows leading, ideally, to purchase by influential collectors and public institutions with accompanying media adoration and invites to cool parties. But just as MySpace bands rocked the music industry, blogs scooped the newspapers and YouTube proved far more entertaining than TV, Street Art appears to be the art world's first taste of internet-fuelled people power.
What Street Art does more than any previous movement is to use the media as a medium.'
It's refreshing to hear someone explain Street Art beyond monetary or cultural terms, because few will. Ben Lewis, an art critic who's currently filming a documentary about the contemporary art market called Brave New Art World, says: 'People buy Street Art and they like looking at it. That doesn't make it good quality.'
Though he cheerfully describes much of the Street-Art movement as 'wank', he does admit that Banksy and a few others may stand the test of time. 'Banksy's work is interesting because there are lots of ways that meaning is accreted to it. He'd done these pieces in difficult places - there's a political story, a celebrity story and a youth culture story, and he's capitalised on that by producing work that consumers can buy. '
Banksy has played an unprecedented role in the reporting of current affairs.
That's the thing with these artists - they really do want people to see their work, and to see it for free.'

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