59

Street art has long had a reputation for marginality, linked to the bad places of dissenting spirits. Art criticism, both scholarly and media, abounds in this sense, perpetuating an image of rebellious and unconventional practice. However, this marginality seems doubtful to us given the history of this movement, the economic and artistic evolution of certain street practices, and the recognition of street art by the art market or private and public cultural institutions. Examining the status of a margin and of street art from strictly artistic and aesthetic parameters, our discussion will focus on the notion of overflow.