For example, the Taliban caused extensive damage to Afghanistan's ancient cultural treasures. The most famous case dates back to 2001, when they destroyed enormous statues of Buddha in Bamiyan.

People around the world were outraged by this act. The Taliban claimed they did so because of their strict Islamic beliefs and this led them to destroy the ancient Buddhist works of art. But it wasn't just the Buddhas. Many other cases of damage, neglect and theft have been reported in places in order to prohibit the idolisation of statues. This resulted in the permanent loss of the Ghaznavid sites. 

These are important Islamic buildings and works of art dating back many centuries. The same thing occurred at Tapa Sardar, an ancient archaeological site of great importance. These cases are not well known, but they should be highlighted as a serious problem. Sometimes the damage was caused by religious beliefs, but other times it was simply negligence, people trying to make money by selling stolen antiquities, or simply the general chaos that reigned in the country. 

All these factors have permanently damaged Afghanistan's history and culture, which is a loss to everyone in the world.

Not always acts that were born to be vandalistic are actually such. Sometimes, in fact, these actions don’t aim to vandalise, ruin or destroy something, but to control the opinions/thoughts of a community within a certain aspect (political, cultural, social...)    

Examples of this type of act include the famous ‘degenerate’ art exhibition opened in Munich in 1937 and so called by their organisers, the Nazi party, to denigrate art that went against their values. During this exhibition, works of art confiscated from many artists who were part of the new art movements of the 21st century, who criticised the Nazi regime and promoted freedom of thought and religion (such as Kokoschka, Nolde, Heckel, Kirschner...) were exhibited in a ridiculous way. In addition, the organisers of this exhibition decided to hold it at the same time as the ‘Great German Art Exhibition’ in Berlin, where works of ‘pure German art’ were exhibited: the degenerate art exhibition was eventually more successful than the one organised by the Nazis.

The idea that a solid block of marble could be "damaged" seems counterintuitive, yet this very vulnerability was tragically exposed on May 21, 1972, when Michelangelo's iconic Pietà was brutally attacked. Armed with a hammer, Hungarian Laszlo Toth struck the revered sculpture multiple times, causing significant damage, particularly to the Madonna's left arm, nose, and veil.

The subsequent restoration, undertaken by the Vatican Museums, was a monumental effort lasting nearly a year. 

Every fragment was meticulously recovered and reassembled, with what could not be found painstakingly reconstructed. 

The success of this titanic undertaking was a testament to human ingenuity and dedication, but it also served as a stark reminder of the indelible scar left by every act of vandalism. 

Today, the Pietà stands protected by a bulletproof glass barrier, a constant, sobering reminder of the imperative to safeguard our invaluable artistic heritage. 

This incident powerfully illustrates that vandalism is not merely material damage; it's an assault on historical memory, beauty, and culture, a loss not just for the artwork but for all of humanity.

In 2005, the elusive street artist Banksy, using the pseudonym "Banksymus Maximus," orchestrated a daring prank by secretly installing his own artwork, "Peckham Rock," within the revered British Museum. This concrete slab, designed to mimic a primitive cave painting, featured a humorous contemporary image of a prehistoric figure pushing a shopping trolley. 

To ensure the deception, Banksy even created a professional-looking museum placard, labeling it "Wall art" from the "post-catatonic era."

The piece remained undetected by museum staff for an extended period until Banksy himself exposed the stunt on his website. Although initially removed, "Peckham Rock" eventually returned to the British Museum in 2018 for a special exhibition, solidifying its status as a significant work of art. 

This audacious act by Banksy brilliantly demonstrates how perceived "vandalism" can be transformed into a profound act of artistic subversion, challenging traditional notions of art, its presentation, and institutional authority. 

Banksy's intervention sparked new dialogues and enriched the art world by proving that impactful art can emerge from the most unconventional methods and unexpected places.