"An extremely ferocious campaign is being waged in some socialist countries today against abstract art as the last, “most radical,” and most distorted, expression of bourgeois decadency in art. This campaign takes into account only certain of the spiritualistic speculations of the early Kandinsky, Malevich, and Mondrian. No consideration is given in this campaign to the actual context and function of the art that is involved, particularly in connection with the appearance of the Weimar Bauhaus and with the analysis of the modern conception of space and pictorial matter. Nor do these criticisms take note of the fact that abstract art protests against misuse in the name of its concreteness . The real reason for this failure of understanding is that this campaign and these criticisms are unaware of the fact that a contradictory cultural situation, in the form of an attempt to flee the concrete world, has undergone a transformation contrary to its own original intentions by becoming involved in the concrete world and in the ecological (urban planning) problems of this concrete world. Abstract art has thus ceased to be a negation of any world, bourgeois, socialist, or whatever. On the basis of contemporary spatial and pictorial concepts, abstract art has become a part of the most real world possible; that is, it has become wholly neutral so far as differences of class are concerned." (more)