The Limits of Subversion-as-Artwork in Banksy’s “Love is in the Bin”

hat follows is a completely opinionated analysis of Banksy’s recently infamous Love is in the Bin, which took the form of both art as action and a resulting physical artwork. He blended media and message to create something new (a mix of performance and Marcel Duchamp’s Fountain) while following a predictable pattern of “sticking it to the man”; falling right in line with...

About the Author



Lindsey Mancini is a digital editor and emerging street art scholar investigating public art's potential as a transformative societal element. She is currently an adjunct professor of contemporary art at Eastern Connecticut State University, and from 2015-2018 served as the digital content editor for the Peabody Award-winning nonprofit Art21. Her blog, the Arrow, is an editorial component of her documentary nonprofit project ArtAround, an original open-source web platform archiving the art in our shared spaces.