Part 4

AC: How does graffiti fit into the art world and art history, if at all?
Reas: Fuck. I don't know--and it fits in where and when it came in.

It's its own thing. It doesn't need to be told what it is.

If kids pick up a can to create when they are influenced by [what they are seeing] then, that's it. And the history is in the late '60s early '70s here in NYC and Philly, now it continues everywhere.

If you create a body of work and are aiming to [be recognized in the art world], then fine. But to be recognized for writing has nothing to do with that. That's what trains and walls are for.

If you don't get up you don't get recognized.

AC: What do you think of the way graffiti has been documented thus far? (incl. Subway Art, zines, videos)
Reas: It's the new bench. Too bad it costs money. It used to be free and anyone could get their chance to be seen. But now it's up to whomever makes a product to decide what you see.

AC: What do you think of documenting graffiti on the internet?
Reas: I'm not sure yet. It costs money, but at least you can be anyone and get seen. I like it better than magazines.

AC: There anything that you want to tell kids coming up?
Reas: I really don't.


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