In 2012, while everyone else believed the world would end, derdiedada reinvented the wheel and brought the green elephant back into the room. In a decisive return to the global art stage, the life-sized installation „Hunger“ demonstrated that the group was still capable of greatness, literally, and „Kleinkunst vom Dach“ (Petty art from the roof) was their way of saying „sun’s out, guns out“ to anyone who cared. The prophetic „kackst14“ solidified the radical new forms and materials adopted by derdiedada, while a new generation of fawning art critics and sycophantic wannabe copycats inundated the group with servile flattery. But derdiedada had learned from their past mistakes …