The demolition of a well-known “Subodh” series graffiti on the boundary wall of the old airport area has triggered disappointment among art enthusiasts and reignited debate over the 55 public art in the capital.
The issue came to light after a Facebook page titled Hobeki Graffiti Fans shared images and a statement three days ago, claiming that one of the iconic murals from the widely recognised Subodh series had been taken down wth the wall’s demolished.
The post described the incident as “a painful sight for Subodh fans” and criticised the authorities for not issuing any prior notice.
“This is how art is quietly erased,” the post read, adding that the mural held emotional significance for many and contributed to Bangladesh’s growing visibility in global street art culture.
The Subodh series, created by anonymous street artist HOBEKI, has drawn widespread attention over the years for its distinctive visual language and socio-political undertones. Featuring a recurring character paired with thought-provoking captions, the works have appeared across Dhaka and resonated strongly with urban audiences, particularly younger generations.
However, comments on the same post offered a different perspective, suggesting that the removal may be linked to routine preparations for national events. According to several users, the affected section of the wall is part of Gate No. 11 of the National Parade Square, located along Rokeya Sarani.
They noted that each year, portions of the boundary wall are temporarily dismantled to facilitate access during major state events such as Independence Day and Victory Day parades, before being reconstructed afterwards.
“Unfortunately, the latest Hobeki graffiti was drawn on Gate No. 11,” one commenter wrote, adding that the contractor responsible for reopening the gate may not have been aware of the mural’s artistic value.
In response, the Hobeki Graffiti Fans page acknowledged the possibility of logistical reasons behind the removal but questioned whether alternative measures could have been considered.
“It’s understandable that the contractor may not have recognised its artistic value, but it is difficult to believe that the authorities were unaware that this was not random wall writing,” the page said in a follow-up comment.
Art observers say the incident highlights a recurring challenge in Dhaka’s urban landscape, where informal street art often exists in a legal and administrative grey area. While some murals gain popularity on social media, they rarely receive formal recognition or protection.
Cultural analysts argue that preserving such works, even temporarily, could strengthen the city’s cultural identity and signal institutional support for contemporary art. In many cities worldwide, street art has increasingly been embraced as part of cultural heritage, integrated into urban planning and tourism strategies.
As of Thursday (March 26) afternoon, there has been no official statement from the relevant authorities regarding the removal.
For many admirers, the disappearance of the mural serves as a reminder of the fragile existence of street art in public spaces, where expression, infrastructure and administration often intersect with little coordination.
