O Vôo: Graffiti, pixação and the clash between art worlds

The article explores the intersection of graffiti and pixação in Belo Horizonte, Brazil, through the controversy surrounding the murals O Vôo by Comum and Empena de Letras , created as part of the CURA arts festival. While graffiti and pixação share visual elements and a quest for visibility, they are culturally distinct: graffiti has gained artistic recognition, whereas pixação remains marginalized and often criminalized. The conflict escalated when the pixador Ralado tagged both murals, as an act of defiance against CURA’s selection process and its appropriation of street art. These acts reignited debates about legitimacy, ownership and the institutionalization of street art. Social media amplified the tension, and a near altercation between the artists underscored the deep divides between graffiti, pixação and mainstream art. In 2023, Comum repainted O Vôo and, in a symbolic reconciliation, invited Ralado to reapply his pixação, integrating it into the mural. This act transformed a moment of conflict into a statement about the coexistence of different urban art expressions. The article highlights the ongoing tensions between artistic recognition, underground culture and institutional forces, framing the events through the lens of Howard Becker’s ‘Art Worlds’.