Much like the society 'growing up' around it, the art of the Twentieth Century was a fractured affair, with a dizzying march of '-isms' which masqueraded as the epitome of the highest forms of art, but instead signified a decidedly insular, insignificant and largely obsolete 'art' devoid of all craft and meaning.  The masters of the Twentieth Century, Jack Levine, Philip Guston, and Willem De Kooning among them, were all but thrown to the wayside to make way for a self sustaining system of galleries and critics supported by bourgeoisie money.  By the end of the Twentieth Century, the '-isms' that dominated the art world became '-ists', with innovation, thought and spirit reduced to making pale imitations of prior movements.   Architecture and music were the biggest offenders of this, and fortunately, the poor construction materials of the day proved even more disposable than ever imagined.

Much like the cheap pop culture and celebrity obsessed society of the late Twentieth Century, craft and meaning were replaced by empty bravado and self aggrandizement, and the self referential treatment of art and the individual buttressed the continuing emptiness of the associated imagery, which often reused pop icons and simple geometric forms or simply didn't exist.  Art became an expensive commodity that few could afford, enjoy, or understand, and its irrelevance continued through the middle of the Twenty Third Century, when the Spiritual Revolution rediscovered the human spirit."

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