A groundbreaking exhibition at Miami's Museum of Graffiti is documenting the remarkable transformation of street art from its rebellious beginnings in 1970s New York to its current status as a globally recognized art movement. The museum, which proudly claims to be the world's first institution dedicated exclusively to graffiti and street art, has opened a comprehensive show that traces the origins and evolution of this dynamic artistic medium.
The museum is strategically located in Miami's vibrant Wynwood neighborhood, an arts-forward community where nearly every building exterior is adorned with large, colorful murals that have become synonymous with the area's creative identity. This location perfectly embodies the spirit of the exhibition, which celebrates art that has moved from the margins to the mainstream of contemporary culture.
One of the most fascinating displays in the museum showcases not artwork itself, but the tools that made the movement possible – vintage cans of Rust-Oleum spray paint. Museum founder and curator Alan Ket demonstrates the historical significance of these seemingly ordinary objects by holding up a special can of Cascade green Rust-Oleum paint from 1973. Today, collectors are willing to pay up to $1,000 for such vintage cans, testament to their importance in graffiti history.
"This green was only made by Rust-Oleum," Ket explains with evident appreciation. "No other brand made something so nice. So, when you paint a rusty train with this mint green, the effect is quite extraordinary." This specific color became legendary among graffiti artists for its unique visual impact when applied to the weathered surfaces of New York's subway system.
Ket co-founded the Museum of Graffiti six years ago with a clear mission: to tell the complete story of an art movement that emerged in the 1960s and 1970s when teenagers began spray-painting their names on surfaces throughout New York City. What started as simple tags evolved into elaborate artistic expressions that would eventually capture the attention of the international art world.
Among the pioneering artists featured in the exhibition is Jon Perello, now 61 years old, who works under the artistic name JonOne. His remarkable journey from teenage vandal to internationally recognized artist exemplifies the transformation of the entire movement. Today, his paintings have adorned an Air France jet and been featured on Hennessy cognac labels, but nearly 50 years ago, he began as a teenager tagging buildings and subway cars in New York.
"I didn't have no money, so I was stealing all my spray paint," JonOne recalls with characteristic honesty. "That was the first grant, I would say." Despite the humble and illegal beginnings, JonOne recognized early on that he and his peers were creating something significant and lasting.
JonOne started by tagging – simply putting his name on buildings – in his Washington Heights neighborhood. Over time, his work became increasingly elaborate and sophisticated. Like many of his contemporaries, he eventually moved to painting on New York subway cars, which offered a unique platform for artistic expression. "Trains for me [were] like an open gallery," he explains. "All types of people can see it – tourists, business people, people going to work, poor people. It became sort of like a moving canvas, a moving museum that would come to you."
This guerrilla approach to art was not without controversy. Then, as now, many authority figures and members of the public dismissed such work as mere vandalism rather than legitimate artistic expression. However, some visionary artists and gallery owners began to recognize the artistic merit of this emerging form, leading to a pivotal moment in the movement's history.
The Museum of Graffiti's current exhibition highlights a crucial turning point in the development of graffiti art – the first time that work by young street artists was featured in a traditional New York gallery setting. According to Alan Ket, "The Razor gallery show in 1973 was that big boom that showed these young artists that they had a lane, they had an opportunity that they could pursue." This landmark exhibition legitimized the work of street artists and opened doors that had previously seemed permanently closed.
In the decades following that groundbreaking show, Ket notes that graffiti has spread across the globe and gained widespread acceptance from the established art world, luxury brands, and even government institutions. Some artists who emerged from the graffiti scene, including Jean-Michel Basquiat and the mysterious Banksy, have seen their works sell for millions of dollars at prestigious auction houses.
"Now, graffiti artists are called street artists," Ket observes, noting the semantic shift that reflects the medium's growing respectability. "And they are commissioned by cities around the world to create monumental public art projects." This transformation represents a complete reversal from the days when such artists were pursued by law enforcement for their unauthorized creations.
Despite consulting with major museums on exhibitions of graffiti and street art, Ket believes that the movement still hasn't received the full recognition it deserves from the traditional art establishment. While street art enjoys broad popular appeal, blue-chip institutions have been willing to host temporary exhibitions but have been notably slow to add street art pieces to their permanent collections. This institutional hesitation was a key factor in Ket's decision to establish the Museum of Graffiti.
Even JonOne, who has achieved considerable success and recognition, acknowledges that street art continues to face a certain stigma within elite cultural circles. "It's like having that girlfriend that you don't want to show your moms, you know? You love her and everything, but you don't want to bring her home," he says with characteristic wit. "Sometimes I feel like that."
Nevertheless, JonOne maintains that he always believed in the eventual recognition of the art form. Even as a teenager creating unauthorized works on subway cars, he sensed that what he and his peers were doing would eventually gain broader acceptance and respect.
The timing of these exhibitions coincides with Miami's annual Art Basel fair and numerous satellite shows, making it a particularly significant moment for the city's art scene. South Florida has become increasingly recognized as a major destination for contemporary art, with street art and murals playing a central role in this cultural transformation.
JonOne's solo exhibition will remain on display at Miami's Museum of Graffiti through June, giving visitors an extended opportunity to experience the evolution of his artistic style. Meanwhile, the Origins exhibition, which documents the movement's early beginnings and features work from the seminal 1973 Razor gallery show, will continue through the end of the year, providing a comprehensive look at how a form of expression once considered criminal has evolved into a respected and celebrated art form.
