the illegality of this refusal represents a dramatic extension of modern art’s aim to disrupt and challenge the everyday, by refusing to locate such disruptions within a space which renders them predictable. His point is that graffiti art’s key contribution as art is fundamentally related to its illegal placement in the public spaces of the city. Indeed, he argues that ‘illegally placing work on public walls is a significant contribution to, even a step forward for, modern art , that by taking the art beyond the walls of the ‘white cube’ of the art gallery into shared public space we can incorporate sensitivities to the placement of art within a ‘pleasurable critique of the standing order’