Graffiti's potency lies in its subversive, guerrilla nature. Unlike wall art, which is typically organized and sanctioned, graffiti thrives on immediacy, spontaneity, and the risk of persecution. Where wall art may take time and care, graffiti is often quick, requiring speed and anonymity due to the threat of detection. Its purpose is to challenge power, counter surveillance, and inscribe messages that are otherwise censored or suppressed. The July uprising brought new dimensions to this medium of dissent. Spray-painted slogans defied erasure, embodying collective rage and revolutionary solidarity. Demands like "Ek dofa ek dabi, shoirachar tui kobe jabi?" surfaced as cries for justice, echoing the French philosopher Jacques Derrida's assertion that "What cannot be said.., must not be silenced but written." A strong sense of inclusivity was also reflected in the wall art and graffiti during and after the July uprising, which highlighted the case of the marginalized and minoritized people in multiple instances. Numerous graffiti and. wall art pieces not only called for justice but also carried a broader message of liberation, "Not a land of one nation, Bangladesh is a land of many communities" symbolizing the interconnected struggles of all communities. It underscored the message i.e. our collective liberation is intertwined, with the fight for justice uniting people across regions and backgrounds. The true power of graffiti lies in its resilience; it persists as a medium for revolutionary memory and collective consciousness. It speaks for those silenced, ensures the struggles of the marginalized endure, and, as Banksy's words suggest, comforts the disturbed while disturbing the comfortable.

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