The dissertation focuses on contemporary socially engaged artistic practices of Croatian art that deal with the topic of deindustrialization, a very complex social phenomenon with an extremely political sign, closely related to the collapse of socialism and the concept of transition in the 1990s. Deindustrialization in Croatia took place at a specific historical moment, framed by war and post-war socio-political circumstances, which ultimately led to the stigmatization of the socialist heritage, and consequently the industrial heritage related to the period of socialism. Therefore, when we talk about this recent industrial heritage, we also mean the largely unexplored, unrecorded recent labor history. By nature, the selected topics and artworks dealing with the process and social consequences of deindustrialization are extremely political, which is why the theoretical framework of their interpretation, generated by the explanations of contemporary socially engaged art (Bourriaud, Bishop), was expanded with concepts from the field of political philosophy, and in order to the basis for more complex analyzes of the relationship between art, society, aesthetics and politics was articulated. They are approached by relying on the philosophical discourse of Jacques Rancière, which presents art and politics as mutually related fields, supplemented by additional clarifications of Rancière's terminology by theorist Gabriel Rockhill and by focusing on Rockhill's concept of the social politics of art. Its operability is tested on concrete examples of artistic realizations incorporated in museological research projects - case studies - related to the tangible and intangible heritage of industrial production and labor history in the period of socialism, in the interpretation of which the methods of art history, industrial and heritage studies are intertwined with political philosophy. Her subject is the complex relationship between art, society, aesthetics and politics, such as we find in the corpus of artistic realizations on the subject of deindustrialization, which is considered in the central part of the dissertation, through the presentation and explanation of museological and research projects related to the "Dalmatinka" factories in Sinj, "Jugoplastika" in Split and "Željezar Sisak" in Sisak, as glaring examples of deindustrialization in the local context. Using artistic strategies that refer to the heritage of the historical avant-garde, the observed artistic practices and concrete artistic realizations, created with the aforementioned museological-research projects, are viewed from the perspective of activating collective memory and affirming the forgotten industrial heritage of socialism, complemented by a comparative analysis of the conditions of their production, circulation and receptions that examine the socio-political potential of this type of art. In addition to the methodology of art history, sociological methods and instruments (ethnographic method, semi-structured interview, interview) were used extensively in the dissertation, with the aim of gaining insight into the opinions of artists and curators, as well as into the attitudes and feelings of workers, key actors of the deindustrialization process. The expansion of the analytical and theoretical apparatus facilitated a more precise determination of the specificity of the selected corpus based on Rockhill's concept of the social politics of art, on the basis of which it qualifies as a separate socio-critical statement within the complex of contemporary, engaged art.