Brief history of "new" in the Russian discourse on art

If the artist wants to be modern, does this mean that his work must certainly be "new"?

"Novelty" is affirmed in relation to some point of reference or is it a kind of permanent quality? Is it possible to say that the "new" appears in some kind of coordinate system or does it manifest itself in the fact that it creates a coordinate system? Is the world possible without "new" and this world will still be the world of contemporary art?

These and other issues related to the criterion of novelty throughout the 20th centuries have retained their relevance, since they were related to the problem of (itself) of the legitimization of creativity, with its embedding into various value and reputational hierarchies. At the same time, in different historical contexts, the content of the "new", the circle of meanings and functions assigned to it were understood in a significantly different way