The transvanguard, accepting the implicit guidelines of postmodernism, has exercised with its cultural actions a willingness to anti-manifiesto, a denial of the previous conventions, in part very
much in line with what Paz called the tradition of rupture; yes, ‘ma non troppo’. We would like to consider this attitude itself as a manifesto, replicated by each of the chorus voices in
exhibitions of recent years, such as Ana Maria Guasch in her polyanthea titled ‘Manifestos of Postmodern Art’, where perhaps is just assuming the concept of manifesto more as as a
definition than as full stop, even when what is defined is also a rupture (at least apparent). Or perhaps this anthology of correctly selected critical texts was the prediction of an agonizing
situation trying to emerge from a curious Rappel à l'ordre, which in fact occurs at a time of the same historical vanguards, but then opened different roads.
Postmodernism has been weakened by exhaustion, boredom even, perhaps because it had inherited a weakened sense of loss and had already been exhibited all possible penance. In fact, many of the
texts of the anthology to which I referred to (including all between 1980 and 1995) agree in what has been going on in recent years: the return from the painting to painting.