The concept 'historic avant-garde movements' distinguishes these [dada, constructivism, surrealism] from all those neo-avant-gardiste attempts that are characteristic for Western Europe and the United States during the fifties and sixties. Although the neo-avant-gardes proclaim the same goals as the representatives of the historic avantgarde movements to some extent, the demand that art be reintegrated in the praxis of life within the existing society can no longer be seriously made after the failure of avant-gardiste intentions.1
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Benjamin H. D. Buchloh (1986) studied this question.
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