Many things have been said about him. He’s hated or loved, with no middle ground. Where Andy Warhol theorized the 15 minutes of fame, he reaches fame through anonimity. They say he’s a plumpish man, a Philip Seymour Hoffman as an artist, but the truth is that Banksy from Bristol redesigned and – if we want it – united the whole landscape of worldwide street art. He legitimized it, putting it on the same level of an art proudly considered “conventional”.

How he made it? Transmitting a very loud message, through the perfect mastery of the stencil. He is the spokesman of an anti-capitalistic and anti-institutional, almost anarchic movement, spreading his “word” through pushovers, kids, old men, the lower classes, or even rats.

It is an underground and barely visible war, but Banksy proved in several occasions that he can step out on the forefront and “fight”, infiltrating in many museums paintings in perfect classic style, but edited them with touches of a spray can to pass through his message. The methods to spread this message can sometimes differ, but the final purpose remains the same: being always inclined to pacifism and self-determination of the lower classes.

Banksy is an exceptional leader with the look of an ordinary man, apparently ubiquitous (he left his mark in New York as in the Gaza strip), who conceives art through different media.

So why act in the shadows, making use of the lowliest to spread his word? Because they are who, being insignificant and invisible, could indeed bring an entire society down on her knees.