It is to the Galerie Nathalie and Georges-Philippe Vallois that we owe the opportunity to bring together Brassaï’s graffiti and a wide selection of Jacques Villeglé’s posters, the ones that specifically contain graffiti. This “language of the walls,” to borrow an expression/title from Brassaï, is what fascinated the photographer (from 1930 to 1950 for the graffiti) and the poster artist (from 1962 to 1991 for the pieces gathered here). Certainly, the two approaches are not equivalent, neither in technique nor in intent: with rare exceptions, the graffiti presented here by Brassaï are not political, while Jacques Villeglé’s posters pertain to a different context. However, both engage in collection and framing; both document anonymous interventions meant to produce meaning in public space.