Talking about Dadaism, such art is considered to be abstract by Tzara and portrays false ideas and that “no ultimate truth” exists. Mondrian is in agreement with this statement and calls Neo-Plasticism an abstract art, and that it has originated from Cubism. However, to him the abstract is a reflection of relationships rather than forms. For instance, in Circus the two people have a relationship – that of master and slave – and a simple glance at the picture reflects that idea due to the way they have been painted. Gabo disdains such art that has arisen from cubists and futurists in spite of having given the impression of actually working for the best. He calls it “delusions”. In spite of this, and that they have not achieved the desired results, Gabo claims that futurism and cubism were actually important and noticeable movements of his past, while others lacked the credibility.
Marinetti also seems to not find them favorable when he says that with their movement of futurism there will be clearing up of museums where lie things which do not relate to each other. His displeasure is so strong that he considers that Italy would become free once futurism is launched and in practice. With that he compares a museum with a cemetery of all places! And his similarity lies in the fact that people visit both these places annually only. Marinetti does not find anything particularly important in looking at paintings and art works at a museum: all he sees is the labour that the artists had put in just to be able to actually bring their expressions and emotions out in the open for others to perceive, like in Circus wherein Donghi has painted the plastic expressions of the two persons, reflecting what each of them might have been feeling.