The text discusses contemporaneity of the „communist hypothesis” of the year 1968 – as introduced byAlain Badiou – in art. It focuses on the inconsistencies of the geographical aspect of vocabulary of 1968, such as the notion of the cobblestone, in the exceptional case of Hungarian Neo avant-garde art, addressing political aspects of 1968 in communist Europe. It also problematizes the function of 1968 after the fall of communism and the rebirth of the revolutionary utopia in Russian art after 1989. Finally, the argument of the text concentrates on the contemporaneity of the 1968 in its 40th anniversary in works of art created as a response to the financial crisis of 2008.