The issue of contemporary authenticity has been at the centre of discussions in the 
cultural field. The content of this issue is to try to identify the limits of our inspiration for 
heritage in order to achieve or establish our authenticity, and the limits of our utilization 
of modern and contemporary European art for the living of our time.
Egypt has undergone many political and cultural transformations over its long history. 
Artists took the toll of these shifts directly or indirectly in the output of their graffiti 
artwork, had a deep awareness of the art message, knew how to present works of art that 
bring back to memory the richness of historical memories and the spiritual dimension of 
ancient cultural and artistic glories. They worked hard to fuse their feelings in a new 
world that they hold on their shoulders, feeling that the expression of this new reality is 
urgent and worthy of expression.
There is no doubt that we are now experiencing a landmark moment in the history of art 
since we learned terms such as modernism and postmodernism, and globalization in the 
second half of the twentieth century. Every artist is looking for new entrances that 
connect them to contemporary reality and reflect their creativity. With a strong sense of 
the need to emphasize identity by sticking to the ancient heritage and roots, as if the Earth 
was almost pulling out of the foothills away from us, the great winds of international 
change would throw us into the clouds of the world's unknown and become a warped 
mosque with no homeland, no river, no sun and no history .
Our early pioneers and many generations after them have realized that frightening reality, 
including the artist “Nehammia Saad", the artist “Saad Kamel" and the artist “Maryam 
Abdulalim".
They managed to hold the core of immortality behind the cortex of things, and created 
their artwork out of independence, freedom and belonging.