The German art scene has witnessed its demise through the war within the mono-centric view. Also the rest of Europe developed rather poly-centric art worlds with loose contacts between artists, who due to their urban fragmentation and not least because of lack of capital never were able to trigger trends at the European or the international art market. At the end of the seventies art theory foresaw the end of all painting-art for the linear appreciation of art. But painting-art wasn't dead. It kept on reinventing itself. Dogmatics followed and invented the 'new' cyclical instead of the linear appreciation of art. Neo Rauch was ascribed to the neosurrealists, Romero Britto to the neo-pop-art – so their art was "new" again.
This supposed rebirth of painting was a lesson, teaching us that dogmatics of painting at the first art market is strongly oriented to financial interests. The requirements of curriculum vitae, novelty, authenticity, rejection of the decorative aspect are intended as guarantee for stability of value and rarity. To give you the possibility to check the value of your investment exchange-like organisations were created. The artprice-agency determines the value of artists in the form of 'stock charts', to make it easier for institutional and private collectors, curators, museums etc., to issue an exceptionally valuable portfolio. But it was overlooked that in doing so the determinism was further aggravated, because the artist's work is now even more restricted by market pressures.
For the first time at the beginning of the new century (2005) in London the question is raised, whether deterministic attributes of modern painting must be fundamentally reconsidered. In 2009 the Frankfurter Allgemeine Zeitung published a report about the Transition Gallery in London, and their new appreciation of art under the heading: 'we need more dilettantes'. In this case the scandal is not intended to create a better saleability. The scandal is the challenge of a centenarian doctrine. The scandal negates the first art market. The anti-deterministic artist is allowed to paint
With every peace of art, corresponding with the above mentioned characteristics, the artists turns against the dictate of the ruling dogmatics. He is pursuing art policy by intentionally ignoring the quality requirements of the first art market and thus he regains absolute artistic freedom.