In lieu of an abstract, this is the first paragraph of the essay: Sometimes rude, often crude, the graffiti that Jill Posener began photographing in London in the 1970s and collected in Spray It Loud, a slim photobook published in 1982, reflects the signature struggles of the British left in this period. The book’s typology of delinquent typography is comprised of feminist tags and antiracist slogans, calls for social housing and for nuclear disarmament. The daubed demands that Posener encountered as she roamed the city with her A-to-Z street atlas appear against a backdrop of urban decay and social deprivation—the context that secured the Conservative Party its mandate to govern in 1979 with a pernicious ideology of free-market capitalism and nationalistic rhetoric. The graffiti, Posener writes in the book’s introduction, reminds her “that there is resistance and rebellion.”