Synopsis In the follow-up to the explosive global graffiti documentary Bomb It, director Jon Reiss takes audiences to previously unexplored areas of the Middle East, Europe, Asia, the United States and Australia on a hunt for innovative street art and artists. Bomb It 2 explores the indigenous street art scenes in Singapore, Bangkok, Jakarta, Hong Kong, Tel Aviv, Perth, Melbourne, Copenhagen, Chicago, Austin and the Palestinian refugee camps on the West Bank. Using an ultra compact camera and sound package, Reiss traveled by himself to film artists and writers representing a wide range of cultures, styles and beliefs, including Klone, Know Hope, Great Bates, Twoone, Darbotz, Killer Gerbil and Zero, Bon, Alex Face, Sloke, Husk Mit Navn, Ash, Phibs,Stormie Mills, Beejoir, Zero Cents, Vexta, MIC, and Xeme, and many more. In Denmark, Reiss meets up with the street art team Great Bates, who show Reiss some of their favorite spots to get up in Copenhagen. Great Bates have been painting together since 1986 and have hit up walls around the world in Africa, England, Italy, Japan, Mexico, New Zealand, Norway, Turkey and the United States, among other places. The ultimate purpose of their street art is personal expression, rather than financial reward. In the Middle East, Reiss talks with Muhnned Alazzh in the West Bank where Alazzh emphasizes the cultural and political significance of writing on the wall in the Palestinian refugee camps. To Alazzh, graffiti and street art have no place on the barrier because they distract the public from the larger geopolitical problems of the region. Others argue just the opposite, however. They contend that the barrier street art attracts media attention, which helps generate global awareness about the ongoing situation in the West Bank. In Melbourne, Reiss interviews Ash Keating, whose work more closely resembles Abstract Expressionism than traditional street art or graffiti. Keating orchestrates public performance art in shopping malls across Australia to draw attention to the seldom seen impact and scale of postconsumer and industrial waste with colorful garbage monsters. Keating has also done site specific work in earthquake ravaged communities in Jakarta, Indonesia. In Jakarta, Indonsia, local street artist Darbotz expresses himself through graffiti as an escape from his day job in advertising. Darbotz's work is heavily influenced by his study of semiotics, the examination of signs and sign processes. Instead of applying a signature to his pieces, Darbotz paints his signature squid monsters in black and white, making his graffiti instantly recognizable to the public through semiotic association. In Singapore, Reiss connects with street artists Zero and Killer Gerbil, who explain the paradox of doing graffiti in one of the most highly policed states in the world. Despite the serious risk of fines, jail time and canings with a rattan, the friends explain why getting their message out through their art work is more important than suffering the possible legal consequences. In Hong Kong, Xeme and MIC take Reiss out on the town. According to the artists, graffiti is seen more as a trend than an art form in Hong Kong. The booming local construction business further complicates a street artist’s life. As new buildings quickly pop up around the city, many of the “hall of fames”, walls and areas where graffiti is allowed or tolerated are disappearing overnight due to rampant urban development. .