It's a great point. And the reason we have a lot of pro-slavery art is that the anti-slavery art was destroyed, or never allowed to be created in the first place. I've recently been reading The Fiery Trial, a biography of Lincoln's ideas, and mobs would happily assault and sometimes kill white abolitionists just for speaking about the notion. And Kendi's Stamped From The Beginning makes clear how eager the greater portion of American whites were to keep black people from having opinions at all.

Art has pretty much always been subjected to a pretty ruthless collaborative editing process. In San Francisco's alleys, art is continually being put up and painted over. The good pieces last longer than the random squiggles, but very few reach the level where somebody like Precita Eyes [1] will preserve it past its natural lifespan. For something to survive across generations, it has to fit the standards of multiple generations, and that's how it always has been.

Predictably, Bari Weiss isn't upset about that ongoing loss of San Francisco art. Gosh golly, why is losing this specific set of unexceptional murals important to her?

[1] http://www.precitaeyes.org/