Chapter 2 considers the introduction of modernist aesthetics in Sweden in the early 1930s in the image communities of marketing and visual art. The main focus is the Stockholm Exhibition held in 1930 in which marketing and advertising played an integral part in the presentation of modern architecture, design and visual art. The exhibition area hosted the first large presentation of modernist visual art in Sweden and was simultanoeusly a decisive event for the introduction of modernist window displays. From the late 1920s and onwards window displays were clearly being influenced by avant-garde modernist art such as cubism, futurism and constructivism. This is evident in the designs themselves but it was also spelled out in professional journals and handbooks. In the commercial context pure marketing rationales and arguments were linked to the modernist aesthetic.The modernist design in window displays was not unique to Sweden around 1930. However, this is an instructive case as the reception of modernist images differed widely between the two image communities. Within marketing aesthetics the Stockholm exhibition marks the breakthrough for modernism. But simultaneously, the art field was very resistant to modernist aesthetics and the Art Concret exhibition proved to be a complete fiasco.
