01557nas a2200217   4500000000100000000000100001008004100002653001600043653001200059653001300071653001300084653001400097653001600111100001300127245011000140856011800250300001000368490000600378520093500384022002001319                                       d10aBerlin wall10aContext10agraffiti10aheritage10aStreetart10aTemporality1 aS. Pinto00aThe wall is dead, short live graffiti and street art! Graffiti, street art and the Berlin Wall s heritage  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85044649605&partnerID=40&md5=d05832d947e464ba3fe69bb2baf58906  a62-720 v33 aThis article addresses some of the challenges faced by heritagization related to graffiti and street art, namely the changes in context and temporality that this process entails. In order to discuss these issues, I will frame the Berlin Wall as a paradigmatic case that presents a trajectory in time: I will follow the transition of the Wall from a deadly frontier to an obsolete structure and, finally, to a historic monument. I will argue that graffiti and street art are context-specific, and deeply affected by the symbolism and/or functions of the surface on which they are inscribed. Moreover, I will recognize graffiti and street art as practices situated in between tangible and intangible heritage. Particularly with the Berlin Wall, and in regard to the preservation of memory and heritage, I will suggest that graffiti and street art do not always enter the institutional circuit, especially when illegal and anonymous.  a21833869 (ISSN)