Auto-Destructive Art is a radical artistic movement that emerged in the 1960s, pioneered by British artist Gustav Metzger. This avant-garde approach is defined by artworks that are intentionally designed to decay, transform, or self-destruct over time. By embracing destruction as an essential part of the creative process, Auto-Destructive Art challenges traditional ideas of permanence, artistic preservation, and the commodification of art. Artists within this movement often use acid, fire, explosives, or corrosive materials to create works that disintegrate before the viewer’s eyes. The ephemeral nature of these pieces serves as a powerful metaphor for impermanence, societal decay, and the fleeting nature of existence. Metzger’s public demonstrations, where he applied acid to nylon sheets, exemplified this philosophy—transforming destruction into an act of creation. Beyond aesthetics, Auto-Destructive Art was also a political statement. It critiqued consumerism, mass production, and the role of art as a commodity, opposing the traditional art market’s focus on longevity and monetary value. Instead, this movement engaged audiences in the raw experience of change and impermanence, forcing them to confront the unpredictability and fragility of both art and life. Though its peak was in the 1960s, Auto-Destructive Art continues to influence contemporary artists exploring themes of decay, impermanence, and transformation. Its impact can be seen in performance art, environmental art, and digital media, where destruction is used as a conceptual tool. By blurring the line between creation and annihilation, Auto-Destructive Art remains a thought-provoking and disruptive force, urging audiences to reconsider the nature of artistic expression and the inevitable cycle of creation, destruction, and renewal.