Exit through the Gift Shop is more subversive than street art. Like Orson Welles’ pseudo-documentary F for Fake, Banksy’s directorial debut introduces thought-provoking ideas while calling its own credibility into question. It’s impossible to believe everything that transpires on screen, and the dubiousness is by design. Thanks to wry humor and an array of colorful personalities, audiences won’t get the feeling they’re being cheated. Instead, I suspect most will laugh their way through something that’s part character study, part anthropological survey, part meta-diatribe. No matter what conclusions are taken away, EttGS has the potential to recalibrate perceptions on how art and celebrity interact.