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Graffiti’s dual existence as both public art and illicit practice has generated sustained legal, cultural, and aesthetic debates. This article examines the role of anonymity in shaping how graffiti is recognized, regulated, and interpreted within both legal frameworks and artworld aesthetics. Focusing on the legal battle over 5Pointz, a prominent New York graffiti site that was whitewashed in 2013 and demolished in 2014, I analyze how the Cohen v. G&M Realty L.P. case reveals a structural tension between graffiti’s collective ethos and the legal system’s emphasis on identifiable authorship. Drawing upon legal studies, urban cultural theory, and aesthetics, this article explores how the Visual Artists Rights Act (VARA) mediated the legal recognition of graffiti, often privileging curated, institutionally sanctioned works while rendering anonymous street art legally vulnerable. I further synthesize scholarly perspectives on 5Pointz to highlight how legal discourse constructs and delimits the status of graffiti within public spaces. Ultimately, I argue that anonymity functions not simply as an absence of authorship but as an aesthetic and political mode of experiencing the object, one that challenges traditional frameworks of artistic attribution and cultural legitimacy. By interrogating the legal and ideological forces that shape graffiti’s recognition, this article situates anonymity as a central, yet often overlooked, feature of graffiti’s critical and aesthetic power. Full article