In the Southeast Asian city-state of Singapore, street artist SKLO has come into conflict with the authorities for her sticker bombing and stenciling. Her arrest foregrounds issues about the socio-cultural resonances and broader value of street art in local public discourse. This article explores SKLO’s praxis vis-à-vis the phenomenon of official graffiti, and its structuring of the tightly regulated public realm. Dubbed the “Sticker Lady,” SKLO has been also referred to as “Singapore’s Banksy” by local and international media. Besides prompting (...) questions regarding the value of street art as expressions of local culture, these references shed light on how the figure of Banksy has become a figure of neoliberal urban aesthetics, especially pertaining to urban entrepreneurialism – a globally circulated signifier of a particular image of street art that sees the attachment of monetary value, celebrity and cool to such artistic works of subversion. These references to Banksy also raise a deeper question: can the Singaporean authorities accept the subversive and political aspects of art as the city-state embarks on a neoliberal agenda to present itself as a considerable player in the global art market? (shrink)