This position holds that street art is increasingly populated with artists whose ambitions are to secure good gallery representation, whilst graffiti culture has no such aspiration.
CDH's argument is that commercial street art heavily trades on the street cred of the outlaw persona that accompanies it, but writing largely paid the price for this credibility. Writers are the ones breaking into train yards and going to prison, while street artists are putting up legal murals or token stencils in back laneways and occasionally having their work buffed.