getting involved in various polemics with artists and critics.3 When it
seemed that the battle for the freedom of art in Yugoslavia was won, the
regime - somewhat surprisingly - launched a counter-offensive. Early in
1963 the highest-ranking party and state officials, including Tito himself,
attacked abstractionism4 and the reasons for that sudden maneuver
were not elear. Jurę Mikuź, ąuoted by Jeśa Denegri in his study of the
art in the sixties, suggests that - paradoxically - it might have been re-
lated to Khrushchev’s reaction to modern art, attacked at about the same
time in the U.S.S.R.5 Yet the Yugoslay campaign did not bring the same
2. Aleksandar Srnec, “Drawing”, 1952/1953, Museum of Contemporary Art, Zagreb
3 Cf. M. B. Protić, “Slikarstvo śeste decenije u Serbiji”, in: Jugoslovenska umetnost
XX ueka, ed. M. B. Protić, vol. 5: Jugoslouensko slikarstvo seste decenije, ed. M. B. Protić,
Beograd: Muzej Savremene Umetnosti, 1980, p. 12-16, 17-23.
4 J. Denegri, Śezdesete: teme srpske umetnosti (1960-1970), Novi Sad: Svetovi, 1995,
5 Ibid., p. 57; J. Mikuż, “Slovenacko slikarstvo od raskida sa socrealizmom do kon-
ceptualizma i zapadna umetnosti”, w: Glediśta, No. 11-12, Nov.-Dec., 1985.