The concept of interdisciplinarity, encoded in the name of the Lithuanian Union of Interdisciplinary Artists, has been debated and disagreed with in waves over the past decades, but constantly - sometimes more actively, sometimes more slowly, almost coming to terms with its inevitable immensity, its abstractness and its strange timeliness. Eventually, the view took hold that interdisciplinarity is simply the status quo of contemporary art, rather than a radically new, different quality and modernity. Today, the term seems to have finally become a trope repeated out of habit, or simply a pragmatic classification for allocating funding, and "interdisciplinarians" (in the strict sense, the members of the LTMKS) are no longer the tangible and identifiable tribe they once were. However, the relationship to the concept of (art) disciplines has also changed. They are no longer perceived as synonymous with modernist retrogradeism and cramped traditionalism; on the contrary, questioning the viability of both the ideologies of fierce modernity and declarative interdisciplinarity, artists and other cultural practitioners are enjoying the delights of the 'new old' disciplines - textiles, drawing, moulding and glass, painting, sculpture, and even folk art - without any irony. Not because they want to return to the age of those disciplines' virginity, but because they sense that their inclusive, material and psycho-aesthetic qualities fit perfectly into the present time without clear chronological signposts. The face of the disciplines is recognisable, but different. They are no longer taboos or fetishes, but something difficult to express in vocabularies to which we have only just become accustomed.