is the most general principle of order existing in the universe at all levels: macro and micro, in the physical, biological, social and noetic world. Avital thinks that Figurative art served as an adequate and comprehensible depiction of things, real or fictitious, for tens of thousands of years just because it represented things in the world in a hierarchical order employing self-embedded pictorial symbols. From the moment that hierarchical order was erased from art, it also ceased to be a medium for the depiction of reality or anything else, and became arbitrary daubing of paint or at best, trivial graphic design. We have no difficulty in understanding prehistoric art from 32,000 years ago, but we are unable to understand any "abstract" painting made today. Avital's central research hypothesis was that if we expose test subjects who know nothing of systemic thought to a set of non-figurative paintings whose relationship is systemic, the subjects would be able to identify the correct order of the pictures comprising the system even if these were presented to them in random order. The hypothesis was tested in three different experiments, all of which showed that indeed subjects with no prior knowledge of the subject succeeded, consciously or unconsciously, in reconstructing the correct order of the visual systems that had been presented to them in a random order which differed for each subject. The tests results confirmed Avital's hypothesis above all expectation, thus indirectly supporting Avital's mindprints theory. Between the years 1974–1985 Avital initiated a number of exhibitions in Israel in which the principles of Artonomy in various arts were demonstrated, by Avital as well as other artists. It is worth noting that while all scholars who employ structuralism in their fields use it as an explicative method. Avital argue that artonomy seem to be the only case in which structuralism is applied for both; explicative and generative method in art. Before the formulation of artonomy by Avital, there was a premature attempt to introduce systemic thinking in art. In 1966 the Guggenheim Museum in New York presented an exhibition entitled "Systemic Art". Avital argue that the terms "system" and "systemic" were used without being understood, as so often happens in art. All the works presented at the exhibition were at most series rather than systems. Indeed, in any system a serial effect may exist, but not every series constitutes a system. The difference is that