Freedom of Information disclosures show that cleaning and securing three Banksy works have cost UK public bodies almost £150,000, reopening the debate over street art and public money.
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Cleaning and protecting three works by Banksy have cost UK taxpayers almost £150,000, according to figures obtained through Freedom of Information requests. The total has revived a familiar argument: are the artist’s unauthorized works costly vandalism or valuable public art?
The largest bill concerns a mural painted on the Royal Courts of Justice in London in September 2025. The Ministry of Justice said it had spent £50,000 trying to remove paint from the wall of the . A further £35,300 went on staff overtime and security.
Together, those expenses put the courthouse work above £85,000. Costs linked to two other artworks brought the combined total close to £150,000, and the final amount may rise. The figures cover more than cleaning alone, despite some simplified headlines and social-media posts.
Security can become necessary because a confirmed Banksy may attract crowds, thieves or people hoping to remove part of a wall. Public bodies may install barriers, cameras or protective material while they decide whether to , relocate or erase a work.
The courthouse itself creates another complication. Historic buildings are protected by rules that limit how stone and other original materials can be treated. Specialist cleaning and conservation work can therefore cost far more than painting over graffiti on an ordinary wall.
Critics argue that officials created much of the by choosing removal and round-the-clock protection. Some say the art should have been left in place or preserved as a cultural attraction. Others respond that fame does not give an artist permission to alter public property.
The wording of the debate matters. Saying that “Banksy cost taxpayers £150,000” places responsibility on the artist. Saying that public bodies spent the money on their response emphasizes the choices made after each work appeared. Both descriptions refer to the same , but they it differently.
Banksy’s works can command millions at auction, yet a mural on a public wall cannot always be sold without damaging a building or changing its legal status. Its possible market value also does not automatically pay the agency responsible for security and maintenance.
The spending was disclosed under rules, which allow the public and journalists to request records from authorities. Such disclosures do not decide whether the money was justified, but they make a more informed debate possible.
For officials, every new Banksy presents an awkward decision. Immediate removal may destroy an artwork and generate criticism. Preservation can create continuing . Doing nothing may leave a public body responsible if the site is damaged or someone is hurt.
The near-£150,000 bill shows why the arrival of a famous street artist is not simply a free cultural gift. It can produce tourism, attention and debate, but it can also leave public institutions paying for decisions they never asked to make.
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