If there’s one thing Bristol-born street artist Banksy is adamant on, it’s proving authenticity. We see it in his ‘Keeping It Real’ service, where his clever Pest Control Office encourages eager art collectors to validate artwork before they purchase (which may seem trivial, yet with Banksy’s whole identity kept under wraps, it’s a courtesy that ensures no fraudulent piece falls on unassuming hands). It’s most evident in Banksy’s distaste for galleries, touting them as mere cash grabs for already-millionaires. And so when an unauthorised Banksy retrospective lands in Australia for a nationwide tour, it’s one that raises questions and definitely intrigues.

For The Art of Banksy: “Without Limits” curator Kemal Gurkaynak, it’s no big deal. If anything, Gurkaynak believes it to be “important”, despite criticism. It’s poised to be a way of “raising awareness of what’s happening in our world” by highlighting the beliefs Banksy integrates across his art. And while I stepped in Without Limits with a bit of scepticism, my own experience saw Gurkaynak’s intention to shine through.

To enter, you walk through a cardboard full-body security scanner—an ode to Banksy’s Dismaland bemusement park project. It’s a witty detail that sets you up for full immersion, and the extensive timeline detailing Banksy’s oeuvre that greets you is a solid way to prime those new to his work (or refresh fans of the artist). And in true Dismaland fashion, you’re first exposed to artwork from the 2015 project including a digital replica of its castle archway and a slew of Dismaland Banknotes—the latter certified Banksy originals. It wasn’t shy of spotlighting multiple renditions of his renowned stencil work like Girl and Balloon and CCCP Flower Thrower, either.

Moving further into the exhibition, the quantity of work displayed far exceeded my expectations. Stencil work, installations, murals to sculptures—anyone witness to this curated exhibition would leave satisfied by the range of art available to engage with. The works on display touch on various topics like anti-war, anti-fascism, consumerism, gun culture, existentialism, and more. You get to see nifty installations like Submerged Phone Booth, The Rhythmic Gymnast and even a built-in Bathroom where rats play around.

In saying that, however, the diverse nature of Banksy’s work made the exhibition’s structure and design fall short. At times, the lack of cohesion between each display made artwork feel randomly placed, and in turn, overwhelmingly cramped. It may have been the limited space they were given, considering The NBA Exhibition shares the studio—a fact not quite concealed with both exhibition’s entrances split in one area. The exhibition’s hyped Infinity Room felt subpar despite high expectations. The mirrored room merely played an edit of Banksy’s artwork—not necessarily showing anything novel or significant of the artist.

Regardless, Without Limits still remains impressive. It was interesting to read about the motivations behind each mark Banksy had left on streets, unabashedly themed around a legion of political and social issues littering our world. A piece that really stood out to me was Media Canvas. It’s a harrowing piece of a child in obvious distress whilst humanitarian aid and the media stand in the background, capitalising on the moment in a backdrop of destruction. Though it’s an artwork from 2006, it’s an unfortunate reality that remains relevant to this day. It’s from then that I understood the purpose of this exhibition—unapologetically thought-provoking, insightful and a conversation much needed in our current landscape.

Considering Banksy is famed for leaving behind artwork in random locations around the world, the exhibition does a neat job at making his artwork accessible for the community. If Without Limits serves as your introduction to Banksy, I’d say you’re in great hands.

The Art of Banksy: “Without Limits” ends on 22 September. Photography supplied by Fever.