Abject Art emerged in the 1990s as a raw and provocative artistic movement that pushes the boundaries of what is considered acceptable in art. Rooted in themes of the grotesque, the repulsive, and the taboo, this genre confronts viewers with imagery that evokes discomfort, disgust, or unease. By challenging societal norms around beauty, purity, and propriety, artists working in this style force audiences to engage with the darker, messier aspects of human existence. The movement draws heavily from the ideas of French theorist Julia Kristeva, who introduced the concept of the abject—those aspects of life that are cast aside as impure or disturbing, yet remain deeply ingrained in the human experience. Through unsettling visuals and themes, Abject Art dismantles conventional aesthetic expectations, making space for raw emotion and visceral reactions. While its roots can be traced back to earlier avant-garde and postmodern experiments, Abject Art gained prominence in the 1990s, coinciding with a broader artistic rejection of traditional beauty standards. Key figures like Mike Kelley, Paul McCarthy, and Cindy Sherman played a crucial role in defining the genre, using disturbing, bodily, and transgressive imagery to critique social and cultural constructs. More than just shock value, Abject Art challenges audiences to confront what they instinctively reject. By forcing viewers to engage with discomfort, it opens up conversations about identity, repression, trauma, and the fragile boundaries between the self and the "other.