“… One might suspect that whoever wrote this (and whoever endorses it) fails to appreciate street art and its commitment to social commentary; they therefore fail to appreciate a vast swath of contemporary art practice. This seems odd for a contemporary art institution that fancies itself the home of socially committed art. Yet again, it doesn’t. Shortly after the New Museum opened, an anonymous black (colorless) stencil seemed to capture these sentiments perfectly. The simplicity of the stencil’s form is striking, but no less so than the complexity of its meaning. It was placed at the base of a street light post just across the street from the New Museum, on the northwest corner of Bowery and Prince. “Hell, No!” stencil obscured by Ronzo sticker in front of the New Museum on the Bowery (photo courtesy the author) Clearly a comment on “Hell, Yes!”, the anonymous “Hell, No!” stencil rejects Rondinone’s ambition to bring the “everyday” into the artworld. Street art, by contrast, brings art into the everyday, into the streets. By rejecting Rondinone’s piece, the stencil rejects the notion that a museum could be the home of socially committed art. A better home is the open public space of the society to which the art is committed. By using the street to say this, the stencil embodies its own message – it beautifully exemplifies the very qualities it promotes.” (via Street Artvertisements: “Hell, No!” )