It’s fitting that on the exhibition floor beneath Baltic’s big show of street art—loosely ranging over two floors of the former flour mill—was a small display of early Keith Haring drawings. Haring, along with Jean-Michel Basquiat, was the first street artist to jump the curb and enter the gallery; since then graffiti and other work that falls under the catch-all label “street art” has—at least according to Pedro Alonzo and Baltic director Peter Doroshenko, the curators of “Spank the Monkey”—not only transcended the street to take up residence in the white cube but become the wallpaper of any