In the context of the art discourse of the aksera generation, its evident that these artists showcased a remarkable spectrum of artistic expressions (Table 1). From Amang Rahmans symbolic surrealism to Daryonos emotional realist-expressionism, each artist represented a unique facet of this generations creative identity. O.H. Soeponos transitions through cubism, surrealism, expressionism, and realism underscored a strong artistic vitality. Krishna Mustajab and M. Ruslan employed symbolism, with the former using shadow puppetry as a language and the latter emphasizing social realism and Javanese calligraphy. Koempoels realistic portrayal of Surabayas urban life offered a different perspective. Meanwhile, Nunung WS. and Serudi Sera ventured into abstract art with distinct approaches serene color strokes and point-based compositions, respectively. Lastly, Rudi

Isbandis artistic journey from realism to abstraction and his exploration of various periods added depth to this discourse. Together, these artists encapsulate the complex and multifaceted Art Discourse of the Aksera Generation, exemplifying the eras artistic dynamism and its contribution to the rich tapestry of Indonesian fine arts history.

Art Discourse of the Post-Aksera Generation The painters of Surabaya from the 1980s were born into a situation marked by the prevailing surrealist style, which was practiced phenomenally, and the emergence of the art market as a result of the art boom. The significant influence of the art market led most painters to seek aesthetic expressions that resonated with the markets demands. Consequently, this external factor triggered a shift in artistic 310 styles. The exploration of art discourse also experienced a shallowing of intellectual thought. During the 1980s, paintings tended to exhibit decorative and naturalistic elements with vibrant colors. The main subjects depicted were the underwater world, flowers, horses, landscapes, dancers, and masks. However, in certain instances, this phenomenon led to creative stagnation (Dermawan T, 2003; Djatiprambudi, 1994).

Sanggar Sangkakala marked the transition between the Aksera generation and the post-Aksera generation. At its inception, this studio dominated the activities of young artists exhibitions until the late 1980s. However, with the increasing impact of the art boom, the studios activities gradually declined. Subsequently, its activities took the form of individual pursuits, with some joining in the euphoria of the art painting boom.