  Despite the great differences among cities, they face similar challenges
regarding social inequality, politics and criminality. Urban art express these
feelings from the citizen point-of-view. In particular, the drawing and
painting of public surfaces may carry rich information about the time and
region it was made. Existing studies have explored the spatial distribution of
graffiti, but most of them considered graffiti as a whole, with no separation
among the types. Also, the analyses rarely take into account the city topology.
In this work, we propose to categorize the graffiti into three types: simple
scribbles, complex scribbles, canvases. We analyze the spatial distribution and
identify the spatial bias of each type. To further analyze the spatial
distribution of the types, we apply concepts from complex networks. First,
regions (communities) defined by the connectivity profiles of the city network
are obtained and the prevalence of each type of graffiti over these regions are
analyzed. Next, a measure based on the dynamics of the network (accessibility)
is calculated and compared to the distribution of the graffiti types. A case
study is performed in the analysis of three different categories of graffiti in
the city of Sao Paulo, Brazil. The results showed that the categories present
characteristic spatial distributions. The ratio of each type per community of
the network, though, does not pose significant deviations. Finally, a small
positive correlation was observed between the locations of each graffiti type
and the accessibility.
