Banksy’s latest work in London was never destined for permanence. The elusive artist’s mural, which appeared on the walls of the Royal Courts of Justice earlier this week, was scrubbed clean within days, sparking debate about the fleeting life of street art in historic spaces.
The stencilled piece portrayed a striking image: a protester sprawled on the ground, clutching a placard spattered with red paint, while a judge in a traditional black gown and powdered wig loomed above, wielding a gavel as a weapon. It was a stark, unsettling composition that instantly drew attention, not least because of its location on one of the city’s most recognisable neo-Gothic landmarks.
Court administrators quickly ordered its removal, citing the building’s historical importance. Constructed in 1882, the Royal Courts of Justice holds Grade I listed status, meaning it must retain its original character. “It is a protected building of great national significance,” a spokesperson explained, adding that unauthorised alterations — even from globally acclaimed artists — cannot be allowed to remain.
The mural’s fate diverged sharply from that of many other Banksy works, which are often preserved, stolen, or transported to galleries where they can fetch millions. Here, however, preservation gave way to preservation of heritage, with maintenance teams methodically scrubbing the wall by Wednesday afternoon.
London’s Metropolitan Police confirmed they had received a complaint that the mural constituted criminal damage, and officers are investigating. Meanwhile, Banksy’s representatives declined to comment.
The artist, whose identity remains unknown, authenticated the mural in his typical fashion — by sharing a photo of it on Instagram. While the work did not make explicit reference to current events, some observers read it as a nod to recent protests and wider debates around free expression. On Saturday, nearly 900 people were arrested at a London demonstration, though no direct connection to the mural has been established.
For the courthouse itself, the episode underscored the tension between contemporary commentary and historical preservation. As one passer-by observed, “It was provocative, but perhaps that’s the point — it was never meant to last.”
Like much of Banksy’s art, the mural’s erasure now becomes part of its story: a fleeting intervention on a centuries-old stage, removed almost as quickly as it appeared.
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