A sharp example of Banksy’s satirical genius, Morons stands as one of the artist’s most iconic and celebrated images. In this screenprint, a bustling auction room is depicted where a crowd of eager art collectors watch intently as the auctioneer, arm outstretched with enthusiasm, accepts bids on a large framed canvas. The artwork itself delivers a biting message, reading: “I CAN’T BELIEVE YOU MORONS ACTUALLY BUY THIS SHIT.” Amidst the otherwise monochromatic scene, a flash of green displays the latest bid – $750,450 – at the top of the rostrum, heightening the irony. The crowd’s excitement and the feverish bidding, despite the painting’s scathing inscription, underscore Banksy’s trademark wry humor. While delivering a sardonic critique of the art world – a recurring theme in Banksy’s oeuvre this print paradoxically becomes a sought-after commodity in its own right. By turning his critical gesture into a reproducible, collectible work, Banksy invites us to grapple with the very contradictions he mocks.
“We can’t do anything to change the world until capitalism crumbles. In the meantime, we should all go shopping to console ourselves.”
—Banksy
Morons was first unveiled in 2006 during Banksy’s influential three-day exhibition in Los Angeles, titled Barely Legal. Even at this stage in his career, Banksy had already built a reputation for creating provocative and controversial art. The exhibition sparked a surge in street art shows and solidified Banksy’s reputation as a key artist to follow. Attendees of Barely Legal were given the opportunity to purchase an exclusive portfolio of prints called the Barely Legal Print Set, which included Grannies, Applause, Sale Ends, Festival, Trolleys, and Morons. These prints are now considered some of Banksy’s rarest and most sought-after in the art market – the same art market that Banksy critiques in this very piece.
Banksy’s connection to the art market is both complex and nuanced, much like his interactions with law enforcement and capitalism, which are key factors in his success and appeal to the public. The artist has frequently voiced critical views on the commercialisation of art, using public pranks to make his point. A prime example occurred in 2008 during the auction of Girl with Balloon in London. Just after the painting sold for a record price, a shredder hidden in the frame was activated, causing the artwork to begin shredding, shocking the art world and the buyers in the room. The piece was later renamed Love is in the Bin and its value has undoubtedly risen since the event, achieving £18.6 million at auction in 2021. In this way, Banksy aims to target the elitist art world, which he refers to as “a rest home for the overprivileged, the pretentious, and the weak”, while promoting the broader accessibility of art through forms such as street art. Ultimately, using his wit and provocation, with Morons Banksy is making fun of himself and his own collectors, giving birth to one of his most identifiable motifs, quintessential to the artist’s socially charged imagery combining despair and satire.
