As College English's recent special issue on the social turn can attest, English studies in general and composition studies in particular have often embraced the epochal language of "the turn" to gauge its self-efficacy, often hinging on the mission of its determined publics and/ or the liberal mission of the university. It is in this context that Frank Farmer's book, After the Public Turn: Composition, Counterpublics, and the Citizen Bricoleur, is welcome, as it attempts to put these turns into perspective by splicing the concept of counterpublics into our understanding of two publics often evoked in composition studies: one cultural and ad hoc, one disciplinary and institutional.

With neither national nor local-level discussions of Senate Bill 1070 adequately addressing bottom line issues such as marginalization, access, and civic engagement, an exploration of marginalized rhetorical acts can provide an informative lens for understanding challenges among marginalized people, their rhetorical tools, and their relations to public spheres. Through an exploration of anti-Senate Bill 1070 graffiti, this article examines how the practice of graffiti points to difference manifesting and playing out in the wider public sphere. It calls for scholars and activists to recognize graffiti as a rhetorical tool worthy of study and cross-cultural discourse.