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Some three years before Banksy’s “Cave Painting” appeared in a grimy under-pass on London’s Leake Street, the artist staged a more dramatic stone-age intervention within the hallowed walls of the British Museum. The artist hung a home-piece piece of prehistoric rock art that featured an early human pushing a shopping trolley. Beside the artifact Banksy also hung an explanatory card that read: “Most art of this type has unfortunately not survived. The majority is destroyed by zealous municipal officials who fail to recognize the artistic merit and historical value of daubing on walls.” With his artistic intentions clear, Banksy then returned to his cave-art theme for this larger piece of street art finished on location in the under-pass known locally as Banksy’s Tunnel, due to it having been the location of a street-art summit known as the Cans Festival, headed by the artist himself. A council official stands, and with studied nonchalance erases an invaluable example of Paleolithic cave art of the type to be found in the Lascaux Caves in France. These rare examples of early human creativity are staggering testaments to the power of man’s individuality in the world, and marks a pivotal turning point in the history of human evolution. Though the piece being erased is merely reproduction by the street artist Banksy is of little importance. The artist aimed to indicate the callous intentions at the heart of council orders to whitewash all examples of urban art. Having been the repeated target of whitewashing and council erasures, Banksy’s “Cave Painting” protest seems to have been a partial victory in the urban art war: the under-pass it was daubed in is now a 300-meter long graffiti reserve for artists of any ilk to temporarily exercise their powers of expression.