We start with one of the world’s most recognisable commercial logos. His Master’s Voice is an image that goes back to a painting Francis Barraud made in 1899. A dog named Nipper sits in front of a gramophone horn, listening to his owner’s recorded voice. Over time the logo became the emblem of the HMV record shop chain. It turned into a visual shorthand for loyalty, obedience and listening.

Banksy keeps the scene almost exactly as it was. The dog sits in the same place, in the same profile. The gramophone stands where it always stood. Only one thing changes. The dog is no longer listening. He has a rocket launcher on his shoulder, and its barrel points straight at the gramophone horn.

This single change reverses the whole meaning. A figure that has stood for obedience for more than a hundred years now takes aim at the very device that spoke to it. His master’s voice is no longer something to submit to. It is a target.

The image opens up several readings. The most direct one is about authority. The moment we start questioning who we obey, the relationship itself ends. Another reading is about the music industry, since the logo is that industry’s commercial face, the artist’s dependence on the record label, the listener’s dependence on marketing. A third is about brands, a thread Banksy has followed throughout his career: collapsing a logo not by destroying it, but by placing a single foreign object inside it.

The image first appeared on the street in Bristol in 2003. Later that same year it was stencilled onto a wall at the Cargo club in Shoreditch, London. That wall has been protected under a perspex panel ever since.