This article addresses the protest culture of the Spanish anti-NATO movement during the first half of the 1980s. Adopting a multidisciplinary approach, it focuses on the collective practice of painting murals and graffiti (pintadas) on walls in the outskirts of Spanish cities. This was done by neighbourhood associations, together with local artists, in order to display and disseminate the widespread angst regarding entering and remaining in NATO. Murals constituted a grassroots multi-layered phenomenon that emerged through the interaction of different communicative actors, social processes and semiotic forms. The article explores three themes. Firstly, the political iconography of anti-NATO murals in Spain whilst comparing it with the aesthetics of other European peace movements. Secondly, the domestic reframing of anti-war and antinuclear icons as well as anti-American clichés, violence and the army, gender relations, Spanish national sovereignty and, more generally, the process of modernisation and westernisation that was rapidly affecting post-Francoist society. Finally, the analysis of these visual expressions offers a bottom-up picture of the final stage of the Cold War and a better understanding of the role of Spanish civil society during the period of democratic consolidation.

本文介绍了1980年代上半年西班牙反北约运动的抗议文化。它采用多学科方法，着重于绘画壁画和涂鸦的集体实践（pintadas）在西班牙城市郊区的墙上。这是由邻里协会与当地艺术家共同完成的，目的是展示和传播有关进入北约和留在北约的广泛焦虑。壁画构成了一个基层的多层现象，这种现象是通过不同的交流参与者，社会过程和符号形式的相互作用而出现的。本文探讨了三个主题。首先，西班牙反北约壁画的政治肖像，同时又与其他欧洲和平运动的美学作了比较。其次，国内对反战和反核图标以及反美陈词滥调，暴力与军队，性别关系，西班牙国家主权乃至更广泛的是现代化和西化进程的重新组建，这些进程正迅速影响着后法兰克主义社会。最后，