Graffiti in New York began, most famously, with TAKI 183's quickly handwritten tags throughout the city in the 1960's (Edlin 331).  TAKI was simply a messenger who would travel all around the city, writing his name wherever he could, inspiring others to do the same, and even getting covered by the New York Times.

From TAKI, graffiti writers sprung up throughout all five boroughs, competing to rapidly "get up" and have their names in more places than anyone else.  Naturally the subway was the ideal vehicle for names to travel far and wide.  Quantity had a vastly greater value than quality, and the style was still quick and simple lettering. 

As the competition for space and recognition grew, so too did the style of writing. Moving beyond just lettering, CLIFF 159 is credited to be one of the first writers to create an outline (Stewart 57).  In 1972, SUPER KOOL 223 was one of the first to fill in an outline with decorative letters (Stewart 59).  The introduction of the “fatcap” -- a more comfortable and wider spray cap transplanted from Jifoam oven cleaner spray bottles -- made the with of the spray three times as wide as a regular spray paint cap.  This allowed writers like STAY KOOL 223 to create larger and larger pieces (Edlin 128).

The evolution in style was lightening-paced.  PHASE 2 is credited with developing a bubble letter style.  In 1973, PISTOL and FLINT 707 were credited with creating the first three-dimensional piece (Felisbret 14).  The creator of “wild style”, or a more mechanical style that played with abstracting lettering more and more, is believed to be PHASE 2 and RIFF 170 (Felisbret 16), but TRACY 168 credits himself with creating the term (Edlin 340).

In 1974, PHASE 2 gave credit to SUPER KOOL 223 for creating the first top-to-bottom and whole car masterpiece, but TRACY 168 and BLADE claimed that LIL’ HAWK was the first (Stewart 74).  Also in 1974, writers began to create cartoon characters and illustrations to go with their masterpieces, and TRACY 168 and STAFF 161 are believed to be the originators (Felisbret 16).

According to authors Eric and Luke Felisbret, by 1975 “the cultural blueprint of writing was firmly established.  Stylistic standards, bombing methods, painting techniques, the aesthetic framework, and form were all clearly defined. . . At this point bombing and style-focused writing began to be further distinguished by the writers. . . Whole-cars became a standard practice rather than an event, and the definitive form of bombing (prolific graffiti in high volume) became the throw-up (a quickly executed piece with an outline, with or without filled-in color) (18)."

During what author Jack Stewart terms "The Late Period", 1975 to 1978, works became more and more complex.  Prolific writer LEE and his Fabulous Five crew created just the second, and the last, whole-train piece in 1977 (Stewart 179).

Graffiti lasted well into the 1980's, but in 1984 the MTA launched its "Clean Car Program".  This new effort prevented cars from being put into service until the graffiti was removed, which took away the motivation for writers to see their work run throughout the city.  Security was increased as well, and slowly, writers were being ousted from the system (Felisbret 32).  In 1989 the MTA declared victory, with the subway system virtually free of graffiti (Felisbret 42).