By Taghreed Saadeh
A new exhibition featuring the works of Banksy opened in Edmonton, the capital of Alberta, Canada. The British street artist is well known for his support of Palestine, and he has made a point of leaving his mark on the separation wall between the West Bank and Jerusalem with his iconic artwork.
I imagined attending exhibition contained original murals showcasing his signature and feeling the unique spirit of each piece. However, it remained that the exhibition mostly consisted of printed works and reproductions, with only around sixty original pieces among approximately two hundred works on display.
The exhibition, at its core, was a commercial venture catering to collectors rather than the artist himself. The organizers tried to convey Banksy’s presence by placing paintings on the walls and signs with his name, yet the arrangement and display of the works failed to reflect the true essence and distinctive character of his art.
Banksy is a pseudonymous British street artist, mysterious since the 1990s, whose real identity remains unconfirmed and subject to speculation. He is famous for using stencil techniques, where a template or transparent sheet, usually made of paper or plastic, is placed on a wall, and paint is sprayed or brushed over it to create precise, repeatable images. This method allows him to produce work quickly in public spaces, reducing the risk of detection and enabling him to replicate his symbols and messages across multiple locations.
Among his most famous works is “Girl with Balloon”, originally painted on the walls of London and later reproduced as prints. The piece caused a global stir when a framed version partially shredded itself during a 2018 auction in an event later dubbed Love Is in the Bin. This version sold for £1.04 million (approximately $1.4 million USD), making it one of Banksy’s most expensive works ever. The shredding added a new artistic dimension, seen by some as a critique of the commercial art market, while others viewed it as a provocative statement on the value and authenticity of original art.
The Edmonton exhibition, titled The Art of Banksy: Without Limits, was held at the Edmonton City Centre from October 17, 2025, to January 11, 2026. The exhibition is part of an international tour organized by independent curators, not Banksy himself. It offered a multimedia experience including paintings, prints, photographs, sculptures, large-scale stencil reproductions, interactive installations such as the Infinity Room, a replica of the Dismaland project, the Louise Michel Room, and a hologram display presented for the first time globally. Visitors could also engage in interactive activities like painting Banksy-inspired designs on T-shirts.
What stood out most to me was the section dedicated to Palestine. The organizers allocated space to showcase Banksy’s works addressing the Palestinian cause, the occupation, and social justice, an essential aspect of his politically charged art. This section allowed visitors to reflect on the artist’s humanistic and political perspective and demonstrated how Banksy uses street art to draw attention to pressing global issues.
Although the exhibition offered a chance to experience Banksy’s art, especially for those who had never seen his work before, its commercial framing stood at odds with the independent spirit that has shaped his street-art legacy. Some visitors appreciated the educational and interactive content, while others were disappointed by the abundance of printed and reproduced works, viewing the exhibition as more focused on collectibles than authentic artistic experience. Nevertheless, the opportunity to view and engage with Banksy’s work including pieces conveying important Palestinian messages was valuable, even if framed within a commercial context that somewhat weakened the artist’s true spirit.
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