TagLynn Hershman Leeson

The Limits of Subversion-as-Artwork in Banksy’s “Love is in the Bin”

hat follows is a completely opinionated analysis of Banksy’s recently infamous Love is in the Bin, which took the form of both art as action and a resulting physical artwork. He blended media and message to create something new (a mix of performance and Marcel Duchamp’s Fountain) while following a predictable pattern of “sticking it to the man”; falling right in line with...

About the Author


Lindsey Mancini is an arts accessibility activist and digital strategist studying the essential connectedness—or disconnectedness—between art and community.

She currently works in communications at the Yale School of Art, and teaches as an adjunct professor of contemporary art at Eastern Connecticut State University. In 2017 she earned an MS with distinction in the history of art & design from Pratt Institute, where she wrote her 80-page thesis on street art theory. Lindsey is currently pursuing a PhD in Visual Arts, Philosophy, Aesthetics, and Art Theory from the Institute for Doctoral Studies in the Visual Arts.