Just in time for the election, political satire is making waves in San Luis Obispo, where legendary street artist Robbie Conal is headlining a new exhibition at The Bunker. The show, a mix of sharp wit and pointed critique, brings together works by Conal and local artists eager to express their views on the nation's political landscape.
Like Conal himself, the show skews heavily to the left. And as voting gets underway, Conal says he hopes it will challenge visitors to think critically before heading to the polls.
Located in the Lower Broad neighborhood, The Bunker is not only an art gallery but also a bustling coffee shop. Despite the sweltering heat, the gallery’s café hums with activity, the perfect backdrop for Conal’s provocative artwork. The first piece to greet visitors is a black-and-white portrayal of former President Donald Trump in a witch’s hat, labeled “Which Hunt?”—a pointed nod to the controversies surrounding his presidency.
Bunker owner Missy Reitner-Cameron is thrilled to feature Conal, whom PBS SoCal calls the “Godfather of Guerrilla Street Art.” The exhibition pairs his works with pieces by satirists like Mark Bryan and Lena Rushing, amplifying the gallery’s political voice. While the show's tone leans left, Reitner-Cameron believes it's crucial for this kind of dialogue to take place.
“Everybody’s voice deserves to be heard,” Reitner-Cameron says. “This show specifically is my voice—it’s these artists’ voices, but it’s a voice that I understand and stand by. We’re trying to be a diverse space for all kinds of art. I understand why some might not want this stuff in their face, but I’ve never seen an election more critical than this one.”
San Luis Obispo County, home to about 195,000 registered voters, represents a blend of political affiliations—roughly one-third Democrats, one-third Republicans, and the remaining 36 percent either independent or associated with other parties, according to county records.
A major issue driving Reitner-Cameron’s political perspective is reproductive rights. Since the overturning of Roe v. Wade, she feels a heightened responsibility to fight for her 22-year-old daughter’s rights. “This is how I can help—by creating a place where people feel safe and free, where art has meaning.”
Political satire has long held a place in American culture, but election years tend to push it into the spotlight. Conal’s artistic journey began in the 1980s, notably with his piece "Men with No Lips," which portrayed Ronald Reagan’s cabinet in a critique of their secrecy during the Iran-Contra scandal. “Reagan’s administration really did it to me,” Conal recalls. “I started making these nasty little black portraits of old white guys in suits who abused their power.”
Born in New York City, Conal was exposed to the art world early, a fascination nurtured by frequent visits to galleries with his parents. His political views, shaped by opposition to the Vietnam War, eventually got him expelled from San Francisco State University during a protest
where he and a hundred of his friends occupied the administration building. This merging of art and activism became the hallmark of his career.
During graduate studies at Stanford, Conal began blending his art with politics. After years of experimentation, he honed a sardonic style that resonates with his audiences. “I had an epiphany,” he says. “I knew political posters. I said, ‘Oh, street posters—I could turn these into posters, put them up in the middle of the night, and start a public dialogue about issues I care about.’”
Conal’s work democratizes art, making political commentary accessible to the public by placing his posters in urban landscapes. His guerrilla-style campaigns have mobilized thousands of supporters across the U.S., including San Luis Obispo, where his posters have appeared on traffic light boxes and other public spaces.
“What I want to do is tickle people into thinking along with me about issues I care about,” Conal explains. “I have no illusions about changing people’s minds. I just want to participate.”
Over his nearly four-decade career, Conal has targeted several U.S. presidents, but his focus has sharpened on Donald Trump since the former president entered the political scene. The COVID-19 pandemic spurred a surge of anti-Trump artwork, dominating Conal’s creative output during the lockdown. “I made more paintings during that period than I’ve ever made in two years, and they were all about those bad guys,” Conal says. His wife eventually encouraged him to explore more positive themes, leading to a series of portraits of inspiring women, including the late Supreme Court Justice Ruth Bader Ginsburg and former First Lady Michelle Obama.
For Conal, the line between art and propaganda is delicate. “My goal isn’t to tell people what to think. It’s to get them to think along with me,” he says. “Once you put your work in public, whether in a gallery or on the streets, it has its own relationship with viewers. I want people to look at it and work out their own feelings.”
As the election approaches, Conal continues to push boundaries with his unique blend of humor and criticism. “I’d love to see more art in galleries, more artists reaching audiences, an explosion of culture. And this kind of art is part of that—whether you agree with it or not. We need all kinds of expression.”
The exhibition, "What Could Possibly Go Wrong?," runs all the way to the election in November. Most of the works, including Conal’s "Which Hunt?" and newer pieces like "Elon Musk" and "Marjorie Taylor Greene," are for sale. You can follow Conal, The Bunker, and other featured artists on Instagram for updates and more information.
This report was made possible by a grant from the Community Foundation San Luis Obispo County.
