The nineteen-sixties were a tumultuous time, marked by numerous societal and political developments which radically reconfigured intergenerational relations. The appearance and growth of youth subcultures, and their corresponding lifestyles, arose as a consequence of youth resistance, namely of those born towards the end or shortly after the Second World War, towards the rationalist and technocratic world-view of their parents, and their failure to create a more equal and just world; this led to a rise of radical social movements and student protests in 1968. The need for political engagement and enacting change in the world became the core frame-work of these globe-spanning youth movements, influenced on one side by Marxism, Maoism, and Anarchism, and pop culture, connected to rock and pop music, on the other, as well as an affirmation of alternative lifestyles and new forms of spirituality, such as Buddhism and Zen-Buddhism. Its rise also coincides with a series of equally important changes in 1960's Yugoslav society which is, in addition to economic and societal reforms, marked by scathing public criticism of the development of self-managing socialism thus far. It was tightly bound to the work of Marxist-revisionist-oriented philosophers, gathered around the academic journal Praxis and Korčula Summer School of Philosophy. Praxis’s criticism became the stronghold of student’s objections on the direction the development of Yugoslav political system, which culminated with student unrest in 1968. Societal changes induced changes in the art scene as well, marked by a questioning of high modernist ideology, social positions, and social responsibility of the artist. Their outcome was the appearance of conceptual art and the articulation of youth subculture as alternative to official culture and official cultural politics. The art scene of Split in the 1960's proved itself to be relatively immune to the aforementioned events and the changes which they brought, with the core factors contributing to such developments being the financial neglect of cultural production, outdated institutional infrastructure, and an inherently conservative environment. Amateur artistic 124 works stood at odds with the internalized official cultural scene, fronted primarily by the actions of Kinoklub Split, whose experimental inclination had the largest effect on the articulation of youth subculture. Alongside of the Kinoklub there are also a several magazines that have to be mentioned (Vidik, Studentska tribina, and Gdje), because of their notable openness towards the critical discussion of social and cultural problems, as well as the activities of the Student art and culture society, and the Public lecture tribune of Split People’s University. Consequently, the first conceptual art movement will arise from these circumstances, tempered in conditions of constant financial struggles and profound changes in the societal and political landscape, under the name of Crveni Peristil; this would further develop into an eponymous art collective, which marked the boundaries of the potential territory available to Split's alternative youth subcultures of the time.