A provocative new mural by elusive street artist Banksy showing a judge violently striking a protester has appeared on the Royal Courts of Justice in central London, two days after nearly 900 people were arrested at a demonstration against the government’s ban on Palestine Action.
The stencilled artwork, which depicts a wigged judge in traditional black robes using a gavel to beat a protester lying on the ground with blood splattering their placard, was swiftly covered by authorities with plastic sheets and metal barriers. Court officials confirmed the work would be removed from the Grade I listed building, whilst Metropolitan Police launched an investigation into criminal damage.
Banksy confirmed authenticity of the mural on Monday morning through his usual method, posting a photograph on Instagram with the simple caption: “Royal Courts Of Justice. London.” The timing and location of the work have sparked immediate speculation about its connection to Saturday’s mass arrests at a Palestine Action protest, marking what many observers describe as the largest single-day arrest total in the capital’s modern history.
The artwork appeared on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex on the normally quiet Carey Street. By Monday afternoon, the area was bustling with onlookers attempting to photograph the now-hidden patch of wall, whilst two security officers stood guard beside the concealed mural.
Mass Arrests Precede Artwork
The mural’s emergence follows extraordinary scenes in Parliament Square on Saturday, where Metropolitan Police arrested 890 protesters demonstrating against the government’s controversial decision to designate Palestine Action as a terrorist organisation. Of those arrested, 857 were detained under terrorism laws for showing support for the proscribed group, whilst 33 faced other charges including assault on police officers.
The protest, organised by campaign group Defend Our Juries, saw approximately 1,500 demonstrators sitting peacefully in Parliament Square holding cardboard signs reading: “I oppose genocide, I support Palestine Action.” Video footage showed officers using batons and forcibly removing elderly and disabled protesters, some of whom were carried away to chants of “shame on you” from the crowd.
Palestine Action, founded in 2020 by Huda Ammori and climate activist Richard Barnard, campaigns to disrupt weapons manufacturers connected to Israel. The group was proscribed under the Terrorism Act in July following an incident at RAF Brize Norton, where activists damaged two military aircraft with paint and crowbars, causing an estimated £7 million in damage.
The ban, implemented by then-Home Secretary Yvette Cooper (now Foreign Secretary following Friday’s cabinet reshuffle), placed Palestine Action on equal footing with groups such as Hamas, al Qaeda and ISIS. It marks the first time a non-violent organisation has been proscribed under British terrorism legislation, making membership or support punishable by up to 14 years in prison.
Swift Official Response
HM Courts and Tribunals Service moved quickly to address the appearance of Banksy’s work, stating that the Royal Courts of Justice is a listed building and they are “obliged to maintain its original character.” The Victorian Gothic Revival structure, completed in 1882, holds protected status as one of Britain’s most significant historic buildings.
“The Royal Courts of Justice is a listed building and HMCTS are obliged to maintain its original character,” a spokesperson confirmed. The removal will be conducted with consideration for the building’s historical significance, though no timeline was provided for when the work would be taken down.
Metropolitan Police confirmed they had received a report of criminal damage and that enquiries would continue. Forensic photographers were seen documenting the artwork before it was covered, standard procedure when investigating potential criminal damage to public buildings.
Political Interpretations
Labour peer Baroness Harriet Harman suggested the work was a “protest about the law” without specifying which legislation she believed it referenced. “Parliament makes the law, and the judges simply interpret the law,” she stated. I don’t think there’s any evidence, in terms of the right to protest, that judges have been clamping down on protests beyond what Parliament intended.
The artwork’s appearance has reignited debate about the government’s approach to pro-Palestinian activism. Human rights groups including Amnesty International have condemned the Palestine Action ban as “a disturbing legal overreach” that threatens the right to peaceful protest.
The controversy extends beyond Palestine Action itself. Since the ban’s implementation in July, more than 700 people have been arrested at various protests, with over 500 detained during a single demonstration on 9 August. Many of those arrested were elderly, with the average age at Saturday’s protest being 54, including 97 people in their seventies and 15 octogenarians.
Banksy’s Political Commentary
The Bristol-based artist, whose identity remains unknown despite decades of speculation, has long used his art to comment on political issues, war and capitalism. His work frequently critiques government policy, particularly regarding conflict and social justice.
Banksy has substantial history of creating work related to the Israeli-Palestinian conflict. In 2017, he opened the “Walled Off Hotel” in Bethlehem, positioned directly facing Israel’s separation barrier, offering what he called “the worst view in the world.” The barrier, which stretches over 700 kilometres through Palestinian land in the occupied West Bank, was declared illegal by the International Court of Justice in 2004.
Other notable Palestine-related works include a 2019 “modified Nativity” scene in Bethlehem showing Jesus’s manger before Israel’s separation barrier pierced by a blast creating a star shape. He has created numerous artworks in the West Bank and Gaza over the years, including depictions of a girl conducting a body search on an Israeli soldier, a dove wearing a flak jacket, and a masked protester hurling a bouquet of flowers.
Summer of Animals
This latest political statement marks a departure from Banksy’s summer 2025 campaign, which featured nine animal-themed works across London. That series, which concluded with a gorilla appearing to lift the entrance shutter at London Zoo, captured public imagination with its lighter tone.
The animal collection included piranhas swimming on a police sentry box in the City of London, a howling wolf on a satellite dish in Peckham, and a rhinoceros mounting a car. Several pieces were quickly removed or stolen, with the wolf disappearing less than an hour after being unveiled.
The shift back to overtly political commentary reflects Banksy’s pattern of responding to current events through his art. At last year’s Glastonbury Festival, an inflatable raft carrying dummies of migrants in life jackets appeared during a headline set, symbolising small boat crossings in the English Channel.
Civil Liberties Debate
The timing of Banksy’s intervention adds artistic weight to growing concerns about civil liberties in Britain. The Equality and Human Rights Commission has warned against a “heavy-handed” approach to protest policing, urging proportionality in enforcement.
Liberal Democrats have expressed “deep concern” over using anti-terrorism powers against peaceful protesters, whilst civil society groups argue the Palestine Action ban sets a dangerous precedent for restricting activism on foreign policy issues.
Director of Public Prosecutions Stephen Parkinson announced that at least 60 more prosecutions would follow Saturday’s arrests, warning of “real-life consequences for anyone choosing to support Palestine Action.” The Crown Prosecution Service expects “many more” charges in coming weeks as case files are prepared.
Ongoing Legal Challenge
Palestine Action’s co-founder Huda Ammori has launched a High Court challenge against the ban, arguing it unlawfully criminalises political dissent. The government is appealing a ruling that allows the challenge to proceed, with a hearing scheduled for 25 September.
Ammori described the ban as “catastrophic” for civil liberties, creating a “much wider chilling effect on freedom of speech.” The organisation has received support from cultural figures including Irish author Sally Rooney, who pledged to use proceeds from her work “to keep backing Palestine Action and direct action against genocide.”
Broader Context
Saturday’s arrests occurred as Israel intensifies its assault on Gaza, which academics, leading rights groups and UN experts have described as genocide. Israel strongly rejects such accusations. Prime Minister Keir Starmer announced last month that the UK would recognise Palestine by September unless Israel takes “substantive steps” to end the war and commits to a lasting peace process.
The government maintains that banning Palestine Action does not affect other organisations campaigning or peacefully protesting on Palestinian issues. A separate pro-Palestinian march in London on Saturday attracted approximately 20,000 participants without incident.
Artwork’s Future
Whilst Banksy’s works now sell for millions at auction, street pieces face uncertain futures. Previous murals have been removed, stolen or vandalised, though some have been preserved in museums. The London Museum recently announced plans to house Banksy’s piranha police box from his summer series.
Security officers guarding the concealed mural told onlookers they didn’t know how long they would remain on duty. “At least it’s not raining,” one remarked to gathered photographers.
The mural’s brief public appearance ensures its message has already been widely disseminated through social media and news coverage. Whether intentional commentary on the Palestine Action arrests or broader critique of judicial power, Banksy has once again inserted provocative art into urgent political debate.
As removal teams prepare to erase the judge and beaten protester from the Royal Courts’ walls, the image has already achieved its apparent purpose: forcing uncomfortable questions about justice, protest and state power in contemporary Britain.
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