Barcelona-based artist Germán Bel, aka Fasim, recently fashioned a large-scale mural for BesArt The River Museum. Titled Stop Wars!, the hugely impressive work is a poetic reflection on armed conflict, blending classical iconography with images of war, fragmented bodies, snakes, hybrid figures, and other symbolic forms in Fasim’s distinctive visual language.
The mural is part of BesArt The River Museum, a momentous open-air urban art project promoted by the Mediterranean Street Art Association (AMSA). Founded and directed by David Hernández and curated by Jordi Rubio, the museum stretches for more than 18 kilometers along the Besòs River, linking Barcelona, Sant Adrià de Besòs, and Santa Coloma de Gramenet in one of Europe’s most extensive public art initiatives.
Featured above is the mural in its entirety. What follows are several close-ups — including those documenting the artist at work:
First segment of the mural with assembled elements: Greek mythology, a tank, a tiger, and a piece of Spider-Man
Second segment of the mural with assembled elements: Artemis, the goddess of the hunt; the Hydra from Greek mythology; a tiger; and characters from the Marvel universe
From the crudely simple to the crisply stylized, graffiti tags increasingly reclaim NYC’s public spaces. Featured above are the signatures of Mastro, Dek, Whie,Pardon CCLB,ACS KWC, Joel R2K, KSTER, IR, XCLAIM, TERE, Thane, SCES aka Belowkey & more. Several more images of tags we’ve recently captured on a variety of surfaces throughout NYC follow:
Established by local community members in 2024, Welling Walls continues the transformation of Welling Court and its neighboring blocks into an intriguing open-air gallery. The mural pictured above was painted by Queens-native illustrator and muralist Annabelle Popa. Several more murals captured last week in the blazing heat at this western Astoria site follow:
Under the curatorial direction of Giulia Shine with the support of Empty Cans NYC, six style masters have recently transformed a Long Island City block into an enchanting oasis of bold beauty and intrigue. The blazing mural featured above was painted by veteran graffiti artist Curve, an active member of the famed TGE Crew. Several more images captured of the huge production follow:
Under the curatorial direction of Staten Island-born actor, producer, artist and spiritual advisor Gano Grills, a new mural has surfaced in the Wu-Tang Clan District in the Park Hill neighborhood of Clifton, Staten Island. Honoring Wu-Tang Clan visionary co-founder Oliver “Power” Grant who died earlier this year following a battle with pancreatic cancer, it features the talents of Gano, Austin Sepulveda, John Echo and Will Power.
Featured above is Gano at work. More images captured last week in Park Hill follow:
Featured above are the iconic “COMPANION” characters fashioned by legendary Jersey City native KAWS installed on the riverfront in Greenpoint, Brooklyn. What follows are several more images of curious characters captured in NYC open spaces:
Earlier this month, the distinctly innovative Valencia-based duo PichiAvo brought their talents to Athens, Greece. Working in their signature style—fusing classical figures with bold graffiti writing—they pay homage to Athena, the city’s patron goddess, whose mythological gift of the olive tree symbolizes peace and prosperity.
Conceived as a self-funded artistic gesture to Athens, the duo’s first major project in Greece stylishly fosters a dialogue between ancient mythology and contemporary urban culture.
Developed over the course of more than two years, PichiAvo’s gift to the city has strikingly exalted Athens’ visual landscape.
Under the curatorial direction of Jeff Beler, the walls on Washington Avenue off Clark Place have once again been transformed. Celebrating pop culture anniversaries through a range of styles and subjects, the new murals brim with whimsy and charm. Pictured above is Brooklyn-based artist Kelvin Morel aka Kam’s vibrant salute to the Chinese Year of the Horse. A small selection of images I captured follow:
NYC-based artist and arts educator Marissa Molina celebrates 35 years of Sonic
Rio de Janeiro-born, Brooklyn-based artist Barbtropolis celebrates the World Cup 2026
Queens-based artist LeCrue Eyebrows dedicates his mural to 50 years of Hotel California
In his latest short film, Street Frames, Colombian filmmaker Juan Gordon pays homage to graffiti, Hip-Hop culture, and Philly-based, Colombia-born multimedia artist José “Busta” Bustamante. The result is a film that is both intriguing and informative, as it draws viewers into Busta’s world — its dualities, its challenges and its rewards. After viewing it, I posed a few questions to Juan:
What inspired you to produce a film spotlighting Jose Bustamante, known to us as Busta? What drew you specifically to Busta?
I’ve known Busta for over 15 years. We met in the streets of Bogotá through skateboarding, and I’ve witnessed his artistic evolution firsthand. In 2024, he invited me to his first solo show in downtown Philadelphia. I accepted, but with a distinct intention: I wanted to document his process, his dualities, his conflicts, and his relationship with the community. While his aerosol work is visually stunning and continues to evolve, it’s his philosophical foundation that truly fascinates me. I’m grateful he opened up in such a raw way to achieve this result.
What were some of the challenges you faced in seeing the project through?
Logistically, there were very few. We filmed in August with perfect weather, and thanks to a great network of collaborators, I had access to everything from secure locations in Kensington to secret spots across Pennsylvania and Jersey. The real challenge was internal: how to capture the profound soul of my subject—the artist, his art, and the complex emotions in between—while maintaining a deep sense of respect for the Hip Hop culture that defines him.
What would you like viewers to take away from this film? Are there any particular messages you hope to convey?
The urgency to create must never die; we must remain in constant motion. Personal and communal conflicts are what keep the world turning—without darkness, there is no light. I want viewers to take these and other questions they can perceive, take them home and reach their own conclusions, applying that creative spark to any aspect of their lives. Movement is life.
How does the graffiti scene in Philly and Trenton differ from the one in your Bogota hometown?
In general terms, they are very similar. You’ll find tags and pieces in the most hidden corners, whether they are “under the radar” works or governmentcommissioned murals. Bogotá, however, is a graffiti city par excellence due to its deep respect for the culture’s constant advancement. The main difference is structural: Bogotá currently has no subway system. Construction began recently, with the opening set for 2028. I’m eager to see how the culture will react to this new architecture—new canvases for paint, music, and film. Evolution is dual: it builds and destroys. simultaneously.
What kind of responses have you received to the film so far?
It has been incredibly positive. Throughout 2025, the film toured festivals, ranging from those focused strictly on Hip Hop cinema to general film festivals where audiences knew nothing about graffiti but were drawn to the story itself. Premiering at the Hip Hop Film Fest in NYC was a major milestone, as was seeing it reach Turkey, Italy, Mexico, Colombia and more. The feedback has been warm and noble; people really connect with the human element behind the art.
What’s next?
I am currently developing a narrative feature film set in a near-future Bogotá. The focus shifts from the walls to the internal movement of the city, exploring human dignity and the weight we carry through life. And yes, it still features a character who can’t help but leave his name on the walls.
How can folks view Street Frames?
After its successful run through the international film festival circuit, it is now available for public viewing on YouTube. You can also see a teaser for it here.
Note: All photos are stills from Street Frames, courtesy of Juan Gordon; interview questions by Lois Stavsky and Tara Murray
While numerous documentaries focus on graffiti artists themselves, few spotlight the photographers who track down their work and share it with the public. There’s No Reward is the exception. Filmed by Queens-based subculture observer Ray Parada, There’s No Reward takes us into the minds and lives of those photographers and documentarians who preserve this ever-ephemeral culture. Although they do not take the extraordinary risks many of the writers do, those featured in There’s No Reward share their frenzied fervor, often bordering on obsessiveness. They, too, trespass into abandoned and soon-to-be-demolished spaces as they feed their addiction.
While each photographer’s particular approach may differ, all share an acute curiosity about graffiti, particularly unsanctioned public art. To Fresh Paint NYC — featured above — it’s largely a matter of tracking down and learning the history of graffiti, as well as documenting its continual evolution. To others, such as Luna Park, it’s a joyous adventure — a “walking meditation” that has taken her into neighborhoods and sites that she most likely would never have discovered if not for her love of graffiti.
As Carnage observes, “Once you learn about graffiti and start seeing graff in your environment, you can’t unsee it. You’re always going to be curious about it, and you are always going to want to see more.”
After viewing the documentary, I had the opportunity to pose several questions to Ray.
What spurred you to produce a documentary that focuses on graffiti photographers and documentarians?
I had been into graffiti ever since discovering it in the ’80s. But in 2015, I met Steve aka Smkjr who introduced me to a scene I hadn’t known about — a secret world where graff hunters get up at 6 a.m. to hunt down anything new that may have surfaced since their last mission. Discovering a new piece by the likes of Curve, Klops, or Kuma was an instant high.
“There’s no reward,” explained Steve, “other than the adrenaline of exploring a spot and discovering an artist you admire.”
How were you able to connect with these photographers?
I actually worked with both Smkjr and Intospaces in the same workspace. I met others through them and through word of mouth.
The documentary covers a 10-year span. What were some of the challenges you experienced in shooting it?
When I first started, I was working with a handheld camcorder. I didn’t feel secure, and I felt the final product could be stronger. In addition, I lost a disc that held dozens of valuable photos and interviews. That was incredibly discouraging. But then COVID hit, and things picked up. The technology had improved significantly, and I regained the confidence I had lost.
How has the scene changed from when you first started shooting There’s No Reward?
Rappel graffiti has had a huge impact on the scene. Some of the artists who were active a decade ago are no longer around. Some of the places the photographers frequented no longer exist. Some of the photographers — due to family responsibilities — are not as active as they had been. And several of the photographers now use drones.
Note: You can view the documentary in its entirety here.
