Abstract The topic of this article is the relationship of street art to both the street (or “the street”) and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street when philosophers discuss street art. My second target in this article is what I have called the “discontinuity thesis.” This is the idea, defended or assumed in some of the most important philosophical writing about street art, that street art represents a radical break with the artworld and is “antithetical” to it. I argue that the discontinuity thesis is mistaken, and that to understand the larger institutional context of street art we must examine the sociology of artworlds. Street art has followed a familiar process and pioneering street artists are best seen as “mavericks” in Howard Becker’s sense. I argue that seeing street artists in this way can help better understand and appreciate their work.

中文翻译：

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街头艺术、不连续性论点和艺术世界

摘要 本文的主题是街头艺术与街道（或“街道”）和艺术世界的关系。我认为哲学家将注意力转向“街头艺术”而不是“城市户外艺术”或“城市环境中的特定地点艺术”这一点很重要。街头艺术中的“街道”似乎不仅仅意味着位置或地理修饰符。我考虑了街头艺术中“街道”的进一步意义，以及哲学家讨论街头艺术时对街道的看法、争论或假设。我在这篇文章中的第二个目标是我所说的“不连续论点”。在一些关于街头艺术的最重要的哲学著作中，这一观点得到了辩护或假设，即街头艺术代表了与艺术界的彻底决裂，并且与艺术界“对立”。我认为不连续论点是错误的，要理解街头艺术更大的制度背景，我们必须研究艺术世界的社会学。街头艺术遵循了一个熟悉的过程，开创性的街头艺术家最好被视为霍华德贝克尔意义上的“特立独行”。我认为以这种方式看待街头艺术家可以帮助更好地理解和欣赏他们的作品。