After the end of Guatemala’s thirty-six-year-long internal armed conflict, the country set about figuring out the history of this violent past. This article explores street artists’ contributions to historical knowledge, arguing, first, that they are public historians and, second, that these artist-historians work to expand responsibility for gross human rights violations beyond a traditional focus on the military to include the economic elite, whose role in the conflict must also be acknowledged if Guatemala is to work through past trauma.

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