In an article published on December 17, 2014, Surti Singh, an Assistant Professor of Philosophy at the American University in Cairo (AUC), wrote that “a new set of questions is crystallizing about the role of art in contemporary Egypt” and posed the following questions: “Can art still preserve the revolutionary spirit that spilled out in the graffiti and murals that covered Egypt’s streets? Should this even be art’s focus?” (Singh, 2014). Singh’s questions at the time were indicative of a growing debate in Egypt over what constitutes a legitimate “art” and what its focus should be following the uprising of January 2011, given the emergence of new forms of art in public spaces. Public art is not a new phenomenon in Egypt – its modern history goes back to the late 19th century (Karnouk 2005; Winegar 2006), and street art also has a history prior to the uprising in Egypt (Charbel 2010; Jarbou 2010; Hamdy et.al 2014, Abaza, 2016). However, the form, content and even the players of public art and street art have changed as practices have become more visible and with this visibility come new questions – what is the role of art in uprising and post-uprising Egypt? Should art incite the public to act against a repressive government, should it serve as a form of awareness, and/or should it document the revolutions “real” history versus what is reported in state media? Is overtly “political” art serving the “revolution” or undermining it? Is aesthetically pleasing, but seemingly content deprived art, a disservice to the revolution?