Belfast's murals, long used as tools of political expression and territorial marking during the Troubles, are gradually changing. Research shows that three-quarters of the most intimidatory murals in the loyalist Shankill area have disappeared since 1998. Newer murals commemorate figures like Queen Elizabeth II and King Charles III, while non-sectarian artistic murals—including tributes to murdered journalist Lyra McKee—are appearing across the city. However, some paramilitary-linked murals persist, and a 2024 incident saw a wall in north Belfast rebuilt and its threatening imagery repainted, reflecting ongoing tensions and the complex politics of 'conflict transformation' funding.
This matters because Belfast's murals are not just local street art but a living record of Northern Ireland's troubled history and its fragile peace process. The shift from sectarian imagery to more inclusive, artistic works signals social change, yet the preservation debate highlights deep divisions: some see the murals as dangerous glorification of violence, while others view them as important historical artifacts that draw tourists. The article underscores how visual culture remains a battleground for memory, identity, and political negotiation in a post-conflict society.