Art is an elite subject – not in the sense that the artist necessarily belongs to or enjoys the privileges of those he serves – what makes art elite is the its, inevitable, destiny to satisfy and please the particular taste of the upper class and to obtain the approval and exclusivity of that elite and its institutions. American sociologist Charles Wright Mills defined elite groups as “those political, economic, and military circles” ( Mills, 1957 ) involving powerful members of bureaucratic, corporate, intellectual, and governmental groups who control and influence key institutions and policies . And with the expansion of capitalism, a globalized market economy and Western military authority, it is clear that class division on a global scale has developed in parallel, since contemporary globalization has conveyed only “all in the global economy it is global” (Castells, 1997); Indeed, a global economy is characterized by, and relies on, these class divisions and competitiveness towards sharing the benefits of economic growth and profit. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Looking at the rise and dominance of capitalism and industrialization that originated in the West in the early 19th century and considering the primary arts and dependent relationship with these powers, the true nature of modern artistic movements is, therefore, questioned. If the ethos of what art embodies is an impression of the previously mentioned global political, economic, and cultural spheres, then is global art history truly global? Is postmodernism still, essentially and primarily, Western-centric, elitist, and ahistorical, similar to the modern art movement that preceded it? It is therefore necessary to draw a theoretical framework based on modern and postmodern art, on what constitutes and defines them, so that we can be able to define how adequately the economic, social, political and genealogical dimensions of the topic reflect on this Square; Furthermore, through reviewing and examining the most comprehensive postmodern review books on art, one aspect of the impending nature and implementation of postmodernism in art – and perhaps art history in general – is perhaps revealed to us and it can allow us to discern a more plausible perspective. understanding of the topic in question. Urban and industrial development in Western culture during the 19th century altered political, social, and economic conditions in the West. It was under these conditions that modernism originated, a movement started by individuals who, at the time, would be considered modernists – or indicators of progress – who developed ideas and notions to reflect their modern period. This cultural substance is what is understood as modernity: the cultural experience of existing in a modern world; thus, modernism is an echo, an aspect, and, in some forms, an enmity of that change. From a genealogical perspective, modernist art is considered to have been located in two important centers of the Western world: in Paris during the mid-19th and 20th centuries - by Édouard Manet and the Impressionists - as well as in New York in the mid-20th century - up to American Abstract Expressionism - onwards. Examining the main focal point of early modernist painting, it is evident how artists such as Manet, Paul Cézanne and Pierre-August Renoir represented this progressive change through their radical modes of visual representation. The Impressionists seem to have initiated a reaction against the previous era of the orientations of?