Dongwon and leftist filmmaking groups like Labor News Collective (Nodongja nyusu chejakdan) to experiment with the medium. Internal Conflict The growing prominence of minjung art and integration into social spheres in turn provoked disagreements over the systemization and institutionalization of minjung art, and produced a generational divide. Artistic and Political Ideas + Influences Some of the earliest minjung art took inspiration from Mexican muralists, the Chinese wood printing movement, and socialist realism. Their work highlighted subject matter, narration, and viewer legibility. The stories they would depict were often of Korean martyrs, ills of capitalism, the plight of the poor, corrupt officials, and other politically charged scenes. Folk art, Buddhist art, woodcuts, genre paintings, and other marginalized art forms not deemed “fine art” were used to reject the western-imported sensibilities of abstract art that was supported by the government and to bolster a sense of nationalism against foreign influence. With that said, minjung artists weren’t entirely opposed to Western modernist aesthetics and theory, but they were extremely critical of Korean modernists at the time who passively adopted modernism as a way to make “art for arts sake” and cater to the sensibilities of the rich/ government- especially in the wake of massive socio-political turmoil. In comparison to modernist artists who were devoted to formalism, minjung art was seen by the Korean press as naive, clumsy, propaganda art. In the newspaper, minjung art was covered in the political section, not the art/culture section. Minjung art was viewed primarily in the streets rather than museums or galleries. Minjung artists were socially and politically invested and held leftist tendencies, which directly conflicted with the military dictatorship at the time and made artists targets for arrest and torture. Artists addressed the struggles of the lower class and the corruption of the government and violent hegemony of capitalism. Legacy Shifts in global and domestic politics, as well as the growing stronghold of consumerism in Korea, and official acceptance of minjung art, all contributed to minjung art's decline in the early 1990s. However, for a short period of time, younger minjung artists utilized montage and kitsch in an attempt to reformulate minjung art. Post-minjung art Critics proposed the term "post-minjung art" in the late 1990s. The controversial term became a point of discussion in the Korean contemporary art world by 2008. While art historian Sohl Lee critiques the post-minjung art discourse as often limited to rhetoric at