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Abstract

Each turn in the history of western modern art had the same persuasive scheme: depreciation of the previous art and overrating of the new art being just promoted. Very often a new art was interpreted as absolutely new. Although for logical reasons nothing of the sort of the absolutely new art exists, the idea of absolutely new art was the foundation of the modernist turn. In contrast to modernism, the postmodern turn is founded on the idea of the double coding, which means that a work of art may paraphrase traditional forms.