This study examines the waves of graffiti that occur before, during, and after a conflict-important tools of political resistance that make protest visible and material.

Graffiti makes for messy politics. In film and television, it is often used to create a sense of danger or lawlessness. In bathroom stalls, it is the disembodied expression of gossip, lewdness, or confession. But it is also a resistive tool of protest, making visible the disparate voices and interests that come together to make a movement.

In Conflict Graffiti, John Lennon dives into the many permutations of graffiti in conflict zones-ranging from the protest graffiti of the Black Lives Matter movement in Ferguson and the Tahrir Square demonstrations in Egypt, to the tourist-attraction murals on the Israeli Separation Wall and the street art that has rebranded Detroit and post-Katrina New Orleans. Graffiti has played a crucial role in the revolutionary movements of these locales, but as the conflict subsides a new graffiti and street art scene emerges-often one that ushers in postconflict consumerism, gentrification, militarization, and anesthetized forgetting.