Old phantasmagorias no longer satisfy the aesthetic desires of the new man, educated in a reality that has required his presence at all times without reservations. Thus, the prehistory of human spirit is concluded. 
Scientific aesthetics will replace the millenary, speculative and idealistic aesthetics. Considerations in respect of the nature of beauty are immaterial. The metaphysics of beauty has withered out exhaustion. Now the physics of beauty is established. There is nothing esoteric in art; the so-called "initiates" are deceivers. 
Representative art shows static "realities", abstractively stationary, and this is because all representative art has been abstract. Due to an idealistic misunderstanding only, non-representative aesthetic experiences were called abstract. Conscientiously or not, in fact, through these experiences art has moved in the opposite direction to that  of abstraction; its results, which have exalted the concrete

values of painting, prove it categorically. The battle fought for what is called abstract art is, in truth, the struggle for concrete invention. 
Representative art tends to subdue the cognitive energy of man, to distract him from his own power.
The subject-matter of representative art has always been illusion.
The illusion of space.
The illusion of expression.
The illusion of reality. 
The illusion of movement.

 

 A fantastic delusion from which man has always returned disappointed and weakened. On the contrary, concrete art exalts the inner self, since it practices it. 
Action Art generates the will of the act. 
A poem or a painting are to contribute to placing man in the world, but never to justifying a renunciation to action. Concrete artists are not beyond any struggle. We are involved in every struggle, at the very front of the battle. 
Never again art shall be considered as support of difference. We advocate art as a contribution from its own sphere to a new communion that is rising in the world. 
We practice the joyful technique. Only exhausted techniques are fueled by sadness, resentment and secrecy.
For the joy of invention. Against the ominous existentialist or romantic moth. Against second-class poets of the small blister and the small inner drama. Against every elite art. For collective art. "To kill the optic", have said the surrealists, the last Mohicans of representation. "To exalt the option", we say. 
The fundamental key: surround man with real things, not ghosts