The relationship between art and anarchism at the end of the 19th and beginning of the 20th century arouses special interest in contemporary studies on the history of art. The article addresses the main trends of thought used to analyze the artistic avant-garde. Therefore, we will consider the approaches of different authors about the place of the anarchist ideology in the formation of Symbolism, Neo-Impressionism, Cubism, Dadaism, Surrealism, Italian Futurism, the Russian avant-garde and Expressionism, as well as of Modernist aesthetics in Argentina, Mexico, the US, Russia and France. The bibliographic systematization and articulation allow us to characterize a polemic and renovating current of study on a period of art history that is object
of canonical and repetitive interpretations. As a result, a critical and methodological apparatus
is provided on a subject little investigated in the Latin American literature on the subject.