1. Hidden Realism plays on reality
2. Hidden Realism plays on the artist's perception
3. Hidden Realism plays on the onlooker's|listener's|reader's perception
4. Hidden Realism is committed to subjectivity
5. Hidden Realism is committed to
1. always referring to reality
2. not relying on statements, but on descriptions and depictions instead
3. not trying to prove its relation to reality, but instead trusting that it will – inevitably and inexorably – reveal itself from the unashamedly subjective parts that make up the puzzle that is a work of art.

A prototypical work of Hidden Realism would be one which, at first sight, would appear absurd, distorted, exaggerated or unrecognizable, while then gradually revealing itself as a depiction of (a) reality, in all its monstrosity. Hidden Realism is subversive by nature. It plays on the structures of perception, both mocking and seducing them. Whoever feels up to mocking, seducing and possibly exposing the structures of human interaction – from the innermost sphere of privacy to the public and political – is most welcome to do so, paying attention to Articles 1.-5.c. Hidden Realism may be seen as an attempt to create, from the subjective essence of "reality", a Wonderland able to ultimately assume the same level of importance as is attributed to "reality" today. There everyone would be honest. The greatest challenge in Hidden Realism is that of necessity it has to bring, and keep, together the most radiant of both flight and commitment. For a free and sexy world, devoted to sharing and worth living in!
For the Wonderland!
Dominik Dusek & Margit Preis
Vienna 1999 Translation by Dagmar Sanjath