The unpredictability of the show and Banksy's elusive nature stirred excitement amongst fans, while defacement from competing street artists and vandals became an imminent problem.

While Banksy's works were inherently illegal, no official complaints were reported to the police; most property owners praised the art and some took measures to protect it.

His first installment, which he captioned "the street is in play", depicted a child reaching for a bottle of spray paint on a sign reading "graffiti is a crime".

[7] In the East Village, Banksy's fifth work was housed in a delivery truck as a "mobile garden," which included theatrical property showing a rainbow, waterfall, and butterflies.

[12] Entitled Sirens of the Lambs, Banksy drove around a military-style cargo truck filled with squealing, stuffed animatronic livestock.

[15][21] The silhouette appeared on the side of a building in TriBeCa,[22] with an identical depiction along the Brooklyn Heights Promenade, facing the downtown skyline.

The work criticized the "heavy labor required to sustain the polished image of a mega-corporation", as the narrator of the audio accompaniment put it.

[29][30] On 18 October there was a pair of paintings that Banksy collaborated on with Os Gemeos depicting a single soldier amongst masked citizens and vice versa.

"The audio commentary Banksy provided suggests that this piece functions both as situational criticism of the art world as well as a tribute to the Occupy movement.

[31] Banksy's second trip to the South Bronx was on 21 October and resulted in a piece depicting a child spray-painting the words "Ghetto 4 Life" on a wall, while a butler waited on him with a platter of spray paints.

The controversial essay criticized the city's decision in approving the One World Trade Center, which he described as "vanilla" and looking like "something they would build in Canada.

"[44][45] In what became his second reference to the September 11 attacks, Banksy argued the building was a betrayal to everyone who lost their lives that day, and that its blandness is a sign the terrorist won.

[15] A group of men took advantage of this and threatened to deface a stencil painting of a beaver in East New York, charging money for people to take photographs.

Hedge fund manager Nelson Saiers, through his website Heybanksy.com, pledged to donate $100,000 to Hurricane Sandy victims if Banksy created artwork highlighting their ongoing suffering.

Díaz stated it reinforced "outdated negative stereotypes," and defended that Banksy should become aware that graffiti art and culture originated in the Bronx.

[32][71] The owner of the graffitied wall and his partner, however, praised the work and its message, calling it "beautiful" and owning its preservation to the artist's fame.

"[44] Sally Regenhard, a leading voice for families of September 11 victims, expressed concerns about Banksy's 15 October depiction of the Twin Towers in TriBeCa, saying the piece was "horrific" and that the placed flower looked more like an explosion.

[72] A Century 21 department store near Ground Zero had planned to show Banksy's work on 29 October, but cancelled due to the controversy.

[74] New York magazine art critic Jerry Saltz wrote Banksy's well-executed work stood out from other graffiti, but that the meaning behind the pieces aren't as deep as fans like to believe.

He pointed out the "wonderful commentary on money and art" displayed with hiring an anonymous salesman to sell Banksy paintings in Central Park for $60.