Paintings in public space have existed ever since there were people. Thus, the art of Graffiti, which?s first evidences go back to ancient times, is historically already very ancient. From the beginning of the 20th century, the interest in this form of artistic expression has grown with an increasing impact on the field of visual arts, especially in the areas of painting and photography. Artists started to take notice of these "doodles" and soon integrated them into their works. As a consequence of the invention of the spray can at the end of the 1960s starting from large cities in the US, a wave of sprayed images spread over the globe and paintings of heterogeneous size, quality, and appearance adorned walls and trains in urban areas. This thesis focuses on the developments of American Graffiti in New York in the 1980s: Several factors caused the sudden popularity and soon the art movement that emerged from folk-, youth- and subculture evolved into an interesting area for the art market, galleries and advertising industry. Due to the hype surrounding Graffiti in the 1980s, this art form increasingly distanced from ?Low Art? and succeeded in becoming ?High Art?. Thanks to the support and funding of New York galleries like the "Fun" or "Fashion Moda", the most famous graffiti painters at that time such as Lee, Futura and Fab 5 Freddy, achieved international success. After the Graffiti boom in the mid-1980s, the movement entered the history of art. Presentations in galleries, at trade fairs and museum exhibitions, established Graffiti in a way that it is seen as a separate movement today. Although in the 1980s the American Graffiti in New York represented a milestone in the field of the movement, the painters did not manage to establish themselves permanently in this field of art. The only exceptions were painters such as Jean-Michel Basquiat and Keith Haring which used the aesthetics of Graffiti and integrated the language of the graffiti writers into their works.