by Guy Adams
When is a Banksy not a Banksy?
That is the million, or rather $450,000 question facing bonus-fuelled New York collectors who are beating a path to a new, and unsanctioned, exhibition of work by the world's most famous street artist.
The Keszler Gallery in the Hamptons, Wall Street's favourite holiday destination, is facing stern criticism from Banksy representatives and his fans after attempting to sell two high-profile works of public art, which were originally intended to brighten up the streets of Bethlehem.
The pieces, referred to as Stop & Search and Wet Dog, were stencilled on to prominent walls in the West Bank city during a visit by the British artist in 2007. They disappeared shortly afterwards, only to re-emerge at the Keszler Gallery in Southampton Village late last month.
News of the sale has angered Banksy enthusiasts, who argue that the works were meant for public consumption. They argue that street art is meaningless – and therefore value-less – outside of its original context, and say that foreign art dealers had no right to participate in their removal.
The gallery takes an opposing view. It insists that the pieces, among seven large Banksy works in its new show, were legitimately purchased and exported from the Palestinian territory. If left unprotected in their original location, they were in severe danger of deteriorating, and by now would almost certainly have been vandalised.
Fuelling the controversy is Pest Control, an organisation that is the nearest thing the reclusive British artist has to official representation. In a statement to Artnet magazine, it claimed that only one of the six pieces in the Keszler show had been formally authenticated as Banksy's work, and admonished the gallery for removing them from their original setting.
"We have warned Mr Keszler [the gallery's owner] of the serious implications of selling unauthenticated works, but he seems to not care," read their statement. "We have no doubt that these works will come back to haunt Mr Keszler."
The debate highlights the problems that emerge when the soaring contemporary art market turns what some view as petty vandalism into a prized commodity. These days, Banksy pieces can fetch as much as $1.9m, meaning that his public works are often thought to be worth more than the building they originally graced.
