In documents available through FOIA (Freedom of Information Act), CIA now admits it committed significant resources in promoting the abstract art market back in the 1950’s and 1960’s. It is claimed, their purpose was ideologically motivated during a time of ‘cold war’ with the communist regime of the Soviet Union. But, upon further examination, this is not so. This deliberate program served a much grander purpose, and yes, it was conspiratorial in nature. For those of you still giving credence to the accidental theory of history, nothing, whether it be in the arena of politics, economics, or even art, happens by accident.


Pay no attention to the word voodoo of academics standing before lecture halls filled with impressionable minds, informing the differences between communism and monopoly capitalism. One of the ironic things about the works of Marx and Engels, is that very few, including the professors themselves, have actually perused the details of the Communist Manifesto and Das Capital, much less read the works in full. They, in fact, are no better than the students skimming the cliff notes to cram for a final exam, in that they cherry pick, then distort whatever passages will conveniently suit their particular purposeful agenda.

In reality, university professors are no different than fundamentalist preachers, who make an over inflated living to proselytize a particular preconceived opinion or world view on behalf of the pleasure of their masters. For, they are largely nothing more than high paid propagandists.

There is no difference between monopoly capitalism and communism!

Despite what mainstream media pundits parrot, both ideologies represent an artificial duality, foisted upon the worlds unwitting masses, merely distorted reflections in the ideological fun house of mirrors. If one looks deeply enough beyond the ideological veil, both are merely fronts for naked and aggressive exploitation, for the maintenance of the political, cultural, and financial monopoly held tightly within the grasping iron hands of the Crown Temple bankers. But, don’t expect America’s newspaper of record, the New York Times, to ever publish an expose. Here, in the West, and particularly in America, one is brainwashed, through the immersion of public school historical and philosophical propaganda, into focusing one’s sights on notions of ‘freedom’ and ‘democracy’. Never does anyone dare gaze beyond the curtain of Oz! But, such propagandized notions serve to prop up an insidious illusion. It is in continually playing both sides against the middle that the ruling elite families and the bankers of the Crown Temple – while agencies such as CIA do their nefarious bidding – maintain their hegemonic choke hold over humanity.


In the first installment regarding this particular subject, it was detailed how CIA utilized so called ‘modern art’, or ‘abstract expressionism’ to promote cultural freedom as a democratic ideal in the midst of what the agency regarded as a growing number of influential communist sympathizers in the West. Ironically, in their quest to preserve culture, they have systematically destroyed it, which was the true agenda of CIA’s Crown Temple banking masters all along. Within their distorted vision, ‘modernism’ is equated with progress. In truth, this so called progress represents degradation, a ruinous perversity disguised in a progressive cloak.

What has been done to the masses via this perverse distortion of cultural values, is tantamount to one bereft of hearing attempting to properly tune a concert piano, managing and governing mankind without regard for the divine spark inherently kindled in every soul.

This pervasive mentality, endlessly flogged by professor, priest and public school teacher alike, portrays all men as isolated islands, spiritless ciphers, alienated and alone amidst an amoral and indifferent universe, without purpose or profit. In a culture promoting the values of valueless art, the masses, while no longer able to objectively distinguish beauty from ugliness, become mere clay to the molding hands of those they have been trained to serve as ‘great men’, ‘experts’, or ‘authorities’.

In promoting abstract art, CIA, at the behest of their Crown Temple banking masters, bled out all absolutes from the world; truth, love, justice, objective beauty, and replaced them with nothing more than the vacuous pseudo-philosophy of consumerism.

While university professors, art teachers, and our Western culture in general, may appear to extol or exalt such timeless virtues, they are in fact, some perhaps unwittingly, dedicated to their destruction and ultimate demise.  But, the promotion of mass dysfunction is useful to the ruling elites.

This, is known as creating order out of chaos.

In keeping the masses separated by race, gender, and social and economic barriers, they deny us the recognition of the divine spark inherent to us all, the very recognition representing a threat to their assiduously maintained hegemony. Throughout the ages, the so called enlightenment philosophies of Darwinism, Marxism, Nietzsche-ism that have been taught and promulgated through the public and university level educational system, have served as corrosive and propagandizing elements, eroding free thought, free expression, turning humanity into brutish automatons waiting to be spoon fed ideas of reality, history, and human nature.


CIA has long been known to have involved itself knee deep in the international arms and drug markets. This is done primarily to fund ‘black projects’ not appearing on congressional budgets or detailed by the federal accounting office. What most Americans are not aware however, is that in artificially building up the demand for ‘abstract’ paintings, most of these ‘works’ were utilized as collateral in clandestine narcotics deals on an international scale. Unless one still thinks NATO and American armed forces invaded Afghanistan for the purposes of restoring freedom and liberty, think again. As has been detailed in other blog posts, Afghanistan’s major export is poppy, which when shipped outside borders is refined into heroin, colossal shipments of which soon find their way to the doorstep of every major city, not only in Europe, but the West. Although the details of such transactions are decidedly more complex, works of abstract art, some of them stolen from galleries in Europe, are then smuggled to cities like Antwerp in Belgium, traditionally, according to INTERPOL, the European equivalent of FBI, representing a hot bed of international narcotics activity. There, the paintings, at overly inflated market prices, were used as collateral on huge cash loans, usually counterfeit (so as not to be traced, the bills later laundered through off-shore banks) in order to purchase the large shipments of heroin from refineries in Syria and Iran at wholesale prices. Once delivered, usually by organized crime elements secretly in league with CIA or MI6, the loads were dumped onto the streets of every major European city at full retail value, garnering tens, sometimes hundreds of millions, for all parties involved. With this information, it is now possible to see how, the artificial creation of the ‘Hippy counter-culture’ in the 1960’s, may have went hand in glove with the promotion of ‘abstract art’?


Is it now possible to see that both ‘movements’, were set up to destroy the spiritual growth of entire generations hence, fostering not only a pervasive psychology of solipsism, but an overwhelming sense that rebellion against prevailing authority is futile, and that conformity, at the end of the day, is much more conducive to living within the safe parameters of material comfort, than dangerously standing alone apart from humanities collective  herd, daring to be a free thinking  individual.

That is the status quo the Crown Temple bankers wish to maintain.

The question remains, for how much longer, is one willing to put up with it?

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