| At any given moment, millions of people are attending his expositions, knowingly or not.  Photograph by Lou Escobar for The New Yorker For twenty-seven years, Invader has been decorating the walls, bridges, monuments, tunnels, sidewalks, staircases, railings, gates, curbs, benches, bollards, posts, poles, pipes, columns, fountains, pools, docks, seawalls, roofs, chimneys, medians, bus stops, train stations, storefronts, bookshops, and bars of Paris and beyond with playful mosaics. They have depicted everything from winged insects to cartoon characters and slot-machine fruits. Invader calls his interventions “invasions,” and the mosaics themselves are known as “invaders.” He has executed more than four thousand in a hundred and seventy-two cities in thirty-two countries, grazing permanence in the traditionally ephemeral world of street art. For a delightful Profile in this week’s issue, Lauren Collins tagged along with the anonymous artist, who likens his process to “urban acupuncture,” during an installation on a highway overpass. “It’s like a bank robbery,” he explains. “I know exactly how everything needs to go.” Support The New Yorker’s award-winning journalism. Subscribe today » | 
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