Banksy Shares Enigmatic Madonna and Child Artwork
Some users online interpreted the image as a symbol of suffering Palestinian mothers and children amid Israel’s attacks on Gaza.
by Rhea Nayyar 
Subscribe to our newsletter
Or Sign in to an existing accountPrivacy Policy
Success! Your account was created and you’re signed in.
Please visit My Account to verify and manage your account.
An account was already registered with this email. Please check your inbox for an authentication link.
The location and nature of the artwork remain unknown, with some suggestions that it is not a new mural but rather an existing piece. On a Reddit thread about the artwork, one user claimed that the work is a standalone painting that was for sale at a private buyers’ show in Spitalfields in London last February.
Banksy’s management team, the Pest Control Office, did not immediately respond to Hyperallergic‘s inquiries.
Get the latest art news, reviews and opinions from Hyperallergic.
With so much room for speculation coupled with Banksy’s demonstrated solidarity with Palestine over the last two decades, it’s unsurprising that commenters assume the street artist is alluding to the dire conditions in Gaza. Banksy has previously incorporated the Virgin Mary motif in his practice, as in “Toxic Mary” (2003), a dripping stenciled image of the holy mother feeding her baby with a bottle full of poison that spawned subsequent spin-off works and print series, and the “Madonna con la pistola” mural in Naples, Italy. Both images invoke Mary’s likeness as a vehicle for societal and faith-based criticism.
Scenes around infant Jesus have become polarizing this Christmas season with regards to symbols of solidarity — last week, the Vatican came under intense scrutiny for a commissioned Nativity scene designed and created by Palestinian artists that included the model of Jesus laying on a keffiyeh in his manger. The model, the manger, and the keffiyeh were subsequently removed within days of the scene’s inauguration at Paul VI Hall.
We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic’s journalism during a time when independent, critical reporting is increasingly scarce.
Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you, ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism.
If you can, please join us as a member today.Millions rely on Hyperallergicfor free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading.
Become a member
