During and after the January 2011 revolutionary protests, Egypt witnessed the surge and spread of graffi ti and street art activities. The story of graffi ti in Egypt is usually rendered as voices of dissent, modes of symbolic resistance, or expressive force of anger, solidarity, and commemoration. While it is true that the collapse of the state security services and the liberation of public space after the 2011 had fostered the growth of artistic revolutionary expressions, the story of artistic production implies more than politics of cultural representation. Rather, these artistic expressions are usually grounded in the formations, expansions, and contractions of social groups that keep on negotiating their identities, networks, capacities and limitations.