This study develops a conceptual framework for a street museum without walls that synthesizes the social spheres of the museum, the city, and the web in order to curate street art in-situ. When André Malraux developed his theory of a museum without walls, he imagined the endless discursive possibilities of integrating photographic reproducibility within museological discourse. Redeploying Malraux’s theory, this thesis examines the transformation of art and public culture via networked digital technology, in order to map the spatial aesthetic operations of street art within a curatorial discourse. This study engages with critical discussions surrounding the changing role of the museum in the twenty-first century, the pervasiveness of the street art movement within contemporary culture, the question of how digital reproducibility has allowed street art practices to occupy multiple sites within the public sphere, and, how concepts of ‘site’ and ‘place’ are
mediated, extended and registered online.