Bseiso’s article examines how art production was understood during a particular moment in Egypt’s political and cultural history. It examines the ways understandings of art were liberated from the former (and predominant) understanding of art as an elitist, private endeavor located in private/socially restrictive spaces to one of an open, accessible, spontaneous, and at times communal art whose natural location became the street. This liberated understanding of an art that could be created by anyone, anytime, and anywhere emphasized the importance of accessibility and art’s connection to its social and political context, as well as to the community at large. Through a localized, contextualized study that puts at the forefront conversations and interviews with cultural producers and artists in Cairo, it argues that understandings of revolutionary art during the Egyptian revolution (from its beginning in January 2011 to arguably its end in the aftermath of the events in Rab’a in August 2013) came in the creation—the doing—of art rather than the actual artwork itself.

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