![]() Fab 5 Freddy’s 1980 Campbell’s Soup train (discussed at length in Part Two of this interview) proved that these artists understood their rightful place in art history and foreshadowed their transition into museums and galleries across the city. But the assumption of white cultural elites was (and in many ways still is) that subway graffiti was unbound from art history and was instead a “folk” or “outsider” art (read-its makers were primarily young, “untrained” artists of color). It’s often been nostalgically evoked that graffiti on subway cars, racing through an economically collapsed New York City of the mid-to-late 70s, brought color and life, however provocative, to an otherwise bleak, gray cityscape. ARTnews will publish four interviews from the series each day this week. The interviews were conducted in February by Museum of Fine Arts Boston curator Liz Munsell and writer and musician Greg Tate, who together curated the exhibition “Writing the Future: Basquiat and the Hip-Hop Generation,” on view at the MFA through July 25. The following is part one of a series of interviews with key figures in Jean-Michel Basquiat’s downtown New York circle in the 1980s. ![]()
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December 2022
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