Edition 3 of 25. Signed with the Banksy tag in red on the right side. Executed in 2006, Angry Crows brings Banksy’s characteristic combination of visual economy and subversive humour to the subject of surveillance. Rendered in spray paint on a compact canvas, the work places crows in confrontation with a CCTV camera, transforming an ordinary fixture of urban life into the focus of an unexpected rebellion. The encounter gives a familiar instrument of authority a conspicuously vulnerable presence. The predominantly monochrome composition sets the birds and camera against a white ground, concentrating attention upon their interaction. The organic forms of the crows contrast with the camera’s rigid construction, while the red Banksy tag introduces a small but distinct colour accent. With little surrounding detail to establish a setting, the image acquires the directness of a visual parable. The crows function as unruly inhabitants of an environment otherwise subject to observation and regulation. Their interference interrupts the camera’s intended operation, reversing the apparent balance of power between the monitoring device and the world it surveys. This reversal permits a reading centred on resistance, while the absurdity of birds challenging surveillance prevents the image from becoming a straightforward political declaration. Angry Crows draws its force from the disproportion between the modest scale of the intervention and the authority implied by its target. The camera, designed to observe from a position of detachment, becomes an object exposed to disruption. Through this concise encounter, Banksy invites scrutiny of the structures that oversee public space, allowing humour to open a broader question about control, privacy and the limits of institutional power.