Jean-Michel Basquiat’s SAMO graffiti played a pivotal role in his emergence as a significant figure in the New York City art scene. SAMO, an acronym for “Same Old Shit,” was a pseudonym that Basquiat co-created with his high school friend Al Diaz in the late 1970s. The SAMO tag first appeared on the streets of Lower Manhattan, especially in the SoHo district, known for its vibrant art community. The graffiti consisted of witty, poetic, and often cryptic messages that critiqued societal norms, consumerism, and the art world itself. These messages, written in a distinctive style, quickly captured the attention of the city's artists, critics, and passersby (MoMA).

The SAMO project began as a form of anonymous urban poetry and street art, with Basquiat and Diaz using walls, buildings, and other public spaces as their canvas. The phrases they crafted were designed to provoke thought and challenge the status quo. For example, one famous SAMO tag read, "SAMO AS AN END TO MINDWASH RELIGION, NOISE." These statements resonated with the underground art and punk scenes of New York, which were characterized by a spirit of rebellion and anti-establishment sentiments (Whitney Museum).

As the SAMO graffiti gained notoriety, Basquiat and Diaz's partnership began to fray, culminating in a public "SAMO IS DEAD" campaign in 1979. This marked the end of their collaboration and the beginning of Basquiat's solo career. The declaration of SAMO's death was also a symbolic gesture, signifying Basquiat's transition from street artist to gallery artist. Despite its end, the SAMO project laid the groundwork for Basquiat’s later work by establishing his presence in the art world and showcasing his ability to blend text and imagery in a way that was both visually striking and intellectually provocative (Tate).

SAMO's influence on Basquiat's later works is evident in his continued use of text and symbolism. The themes he explored through SAMO, such as social injustice, identity, and the critique of power structures, remained central to his artistic practice. The raw, direct style of SAMO also persisted in his paintings, where he maintained the same sense of immediacy and urgency. Basquiat’s SAMO graffiti was not only a critical element of his development as an artist but also an important contribution to the evolution of street art as a recognized and respected art form (Guggenheim).

Through SAMO, Basquiat captured the zeitgeist of late 1970s New York, a city grappling with economic decline and cultural transformation. His work as SAMO highlighted the potential of graffiti as a powerful medium for social commentary and artistic expression. The legacy of SAMO endures in the way it helped to pave the way for future generations of street artists and in the ongoing relevance of Basquiat’s incisive observations on society (The Broad).