Painted in 2007 in response to the borough of Tower Hamlets in London’s East End declaring they would continue to erase any new examples of the artist’s works, Banksy’s “Yellow Lines Flower Painter” is the nucleus of an exciting and rare glimpse into the possible identity of the mysterious artist. While working on the resplendent piece — a self-portrait of a council worker sloppily painting the ubiquitous yellow parking lines into the shape of a primitive, Matisse-like flower — a passer-by photographed an individual thought to be Banksy himself. As it is one of only two potential images of the artist, word quickly spread and the piece garnered global attention as a chance double-portrait. Painted near the trendy Bethnal Green Working Men’s Club in the particularly drab area of East London that was hard-hit during the wartime blitz, locals were quick to champion the piece’s right to remain. Unfortunately for the local council, Banksy had secured permission to paint on the building from its owners, and only the connective strands between the council’s yellow lines and the artist’s have been erased. Unlike a number of other pieces to remain in their original location Banksy’s “Yellow Lines Flower Painter” has not been secured by a Perspex screen. As such, the large-scale work has itself been the target of graffiti, but remains a shining beacon in a concrete and alabaster neighborhood. As one of his most beloved works, this sneering self-portrait is a testament to what can be done by using the tools of your aggressor for your own means of expression.