Graffiti is a form of visual art created on public spaces—such as walls, buildings, and subways—using spray paint or markers. Once dismissed as an illegal act, it has today become recognized as part of urban culture and art, receiving a wide range of interpretations.

  The graffiti walking tour can be joined by making a reservation in advance, selecting a preferred date and time, and meeting the guide at a designated location. Some programs are free, while others require a paid booking through online platforms, allowing participants to choose according to their schedule and budget. Tours usually last one to two hours, with groups ranging from as few as six people to over ten.

  The tour begins as guide Jackie poses a thought-provoking question to the participants: “What makes art truly art?”

  Standing before spray-painted images on brick walls, participants’ reactions split into two directions. For some, it was an impressive work of art; for others, it was nothing more than graffiti. When Jackie explained that a colorful heart mural was in fact part of an advertisement, questions about artistic value deepened further. Whether it was about inspiring thought, evoking emotions, or the idea that something is not art if it leaves the viewer unmoved—each participant drew their own boundary between art and vandalism.

  Following Jackie’s narration, the CBT reporters walked through the long history of graffiti. Its roots stretch back thousands of years to prehistoric cave paintings. What may seem like simple handprints were, in fact, declarations of “I was here.”

  In the Roman Empire, walls bore political slogans, declarations of love, and even advertisements—an early form of expressing opinions anonymously. Graffiti continued onto the battlefields, with soldiers in World War I and II leaving the phrase “Kilroy was here”—a mark of presence and, at times, a psychological weapon.

  The modern concept of graffiti took off in 1960s New York. One of the most famous examples is TAKI 183, a delivery boy who left his tag across the city. Around the same time, Philadelphia’s Cornbread became known for writing his name in hard-to-reach places, driven, interestingly enough, by love.

  Technology also fueled graffiti’s expansion. The mass production of spray paint in the 1960s enabled faster, bolder creations. Artists gathered at New York’s Writers’ Bench to compare their work, and bombing runs—where multiple artists quickly covered entire sections—became common.

  From its underground beginnings, graffiti merged with advertising, fashion, and pop culture in the 1980s, rising to become a defining element of urban culture.

  The site of today’s graffiti walking tours, Graffiti Alley, is officially known as Rush Lane. For many years, it was plagued by illegal graffiti, sparking frustration among residents and shop owners. Ironically, these complaints became the catalyst for change. At the merchants’ request, the city designated the lane as a legal graffiti zone, transforming Rush Lane into a “canvas for creation.”

  Now, it has become one of Queen West’s most iconic attractions. Tourists from around the world flock here to take photos against its vibrant walls, while artists legally reclaim the space as their canvas. Political messages, social critiques, memorials, humorous doodles, and sticker art—diverse forms coexist, creating a one-of-a-kind cultural space.

  During the tour, Jackie guided the CBT reporters through Toronto’s leading graffiti artists one by one. Scam, Sight, and Elixir were among the names highlighted—Elixir, in particular, is known for powerful portraits, and some of his works even evolve into collaborative, open-source murals as other artists add their touches over time. One striking example was a large wall painting of South American children, which had gradually transformed with layers from other hands, creating a dynamic new artwork. Also, Scam and Sight specialize in giving walls a sense of depth, often creating graffiti that makes flat surfaces appear three-dimensional.

  Other well-known figures include Uber 5000, a Toronto icon recognized for his whimsical chicken character, which has reshaped alley ways and become a symbol of the city’s graffiti culture. Meanwhile, the artist Poser, with his playful rabbit character, has added humor and charm to hidden corners of the city.

  “Graffiti has its own grammar,” Jackie explained as she introduced four common forms.

  1. Tags: the simplest and fastest way to leave a name.

  2. Throw-ups: bubble-style letters outlined and filled with different colors.

  3. Pieces: large-scale, multi-colored works that require time, skill, and technique.

  4. Stickers and stencils: often considered bonus types. Stickers are pre-made and placed on-site, while stencils are cut in advance and sprayed quickly, usually carrying political messages.

  Learning to recognize artist signatures and focusing on the central letters helps in decoding graffiti. As the CBT reporters tried their hand at interpreting the walls, reporters discovered that the moment a hidden name emerged from the complex lines brought a unique sense of satisfaction.

  Graffiti often carries strong messages that artists wish to share. For example, the walls of Graffiti Alley in Toronto frequently feature memorial murals for late rappers or artists. These works often include phrases such as “Rest in Peace” along with painted halos, symbolizing respect and purity.

  Some installations also stand out. One piece, a pink phone booth with four receivers facing outward, was originally created in the colors of the indigenous flag—red, green, white, and black. It draws attention to the history of residential schools in Canada and calls for dialogue about the forced assimilation of Indigenous children.

  Political satire is also common in the alley. A mural parodying Ontario Premier Doug Ford reads “Let them drink beer,” echoing Marie Antoinette’s infamous line, “Let them eat cake.” The work humorously critiques local politics while reflecting Toronto’s unique culture.

  Thanks to these diverse expressions, the CBT reporters enjoyed exploring Graffiti Alley while also feeling the weight of the messages behind the art.

  At the end of the tour, the CBT reporters reflected on the boundary of art—between creation and vandalism, legality and illegality, personal expression and public value.

  Chris (55, The U.S.), a participant, said, “I learned new things about graffiti that I had never known before, and I felt closer to the city of Toronto.” The guide Jackie said, “If you visit Toronto, you should definitely experience the graffiti tour.”

  Graffiti Alley continues to capture the city’s voice in its rawest form. It is a living street of art, where illegality and legality, artistic experiments and public responses come together to create a unique urban canvas.