Art, which had previously been a way to produce discursive polyphony, aligned itself with the dominant social-justice discourses of the day, with works dressed up as protest and contextualized according to decolonial or queer theory, driven by a singular focus on identity.

1957 brought the most political international postwar art movement of them all: Situationism, which railed against personality-based individualism and asserted that art is determined by real-world conditions and situations. Artists today still work from that premise.