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For the cultural history of industrialized nations, particularly in the economies of the Global North, the period between 1890 and 1930 is associated with modernisms, as successive cultural movements that were formally innovative, highly subjective, yet also self-reflexive of their institutional and social functions. These movements proclaimed themselves as avant-garde; as cultural vanguards that visualize, materialize, and sound out abstract ideas in new artistic forms and practices. Many modernisms, from Futurism to social realism, regarded the human body as a performative projection plane for expansive ideas about movement and mobility, often conflating social reform with physical freedom, and mass action with political agency.
Ulrich Lehmann (Wed,) studied this question.