What happens, then, when the cries of the street find refuge in the relative calm of a stretched canvas? Is the studio a betrayal of raw spontaneity, or, on the contrary, a new arena where wild energy transforms, refines, yet never tames? In this migration from asphalt to canvas, there is a delightful paradox. These urban interventions, often born from acts of vandalism and rebellion against rigid order, suddenly find themselves exhibited in galleries, reverently welcomed by the institutions they seemed to defy. The street, a space of anonymity and defiance, served as their primitive workshop. The studio, in turn, becomes an inner street, a place of reinterpretation, where raw energy clashes with the boundaries imposed by frame and technique. But why and how does this shift occur? Perhaps it echoes an irrepressible movement. Since the 1980s, the voices of the street have burst into the temples of art. Children of walls and tunnels, they have shown that what is born in the

Ghost galerie, true to its mission of delving into the shifting spirits of Old School Post-Graffiti and the vibrant East Village scene, once again immerses the public in the enigmatic universe of “Nos fantômes”. This second Parisian version, enriched and transformed, offers an unexpected dialogue between past and present through forty works by twenty artists. Ghosts, whether present or absent, visible or elusive, impose themselves as insidious figures of our imagination. They embody our doubts, our desires, and the mystery that inhabits each piece. Like these apparitions, the exhibition itself plays with memory and oblivion. Was it this canvas that caught the eye during the first showcase, or another? Was it this visual neighborhood, this complicity between two works, or an entirely different arrangement? Nothing is fixed; everything shifts and evades, like fleeting forms glimpsed around a wall’s edge or in the gallery’s hidden corners. The artists themselves, like

naugural Exhibition at Ghost Galerie Paris. Here, the “ghosts” that populate the original DNA of Ghost Galerie are summoned—the specters of its dedication to the pioneers of American graffiti, founders of Post-Graffiti, and the East Village scene. The earliest canvas works by the major figures of New York graffiti are rare physical witnesses to the beginnings of a bold and unconstrained popular expression that has since become global and remains vibrant. These Post-Graffiti works, created by the most active street and subway artists of the early 1980s at the invitation of New York’s leading galleries of the time (Sidney Janis, Annina Nosei, Tony Shafrazi), reveal the evolution of their practice within the intimacy of the studio. These more personal paintings on canvas and paper offer us a glimpse into the artists’ own “ghosts,” those that inhabit their works. Some of these ghosts—historical or contemporary pieces—will appear and disappear unexpectedly throughout the exhibition, creating an event within the event.