On over five hundred pages of the book Reasons for the "other line": For the new art of the seventies critical texts about the new art of the seventies, published in various publications and exhibition catalogues, are collected, and are mostly related to the phenomena and artists from the former Yugoslav artistic area.
The first part of the book begins with a chapter on the state of the art of that period and examines phenomena such as Arte Povera, conceptual art, the use and impact of new technologies in art, as well as the changes and issues arising from new forms of artistic creation.
In the chapter The other line thesis for establishing that term in "Yugoslav art" of the 20th century are set forth, whereat the author establishes the continuity between the new art of the seventies and the historical avant-gardes, and through enformel, Exat and Gorgona considering them as allied forms of artistic behavior that is accompanied by a related ideology. In the following chapters of the book the author deals with the most important representatives and the phenomenology and issues of the new art of the seventies. The second part of the book, entitled Media and procedures, contains articles on art activities, photos, video, painting and drawing, whose role in the art of the seventies is discussed in detail. The third part deals with individual artists in separate chapters, and the fourth with politization of the new art of the seventies. Among the most important representatives of the new art of the seventies, regarding which the texts included in the book are, are Tomislav Gotovac, Braco Dimitrijević, Goran Trbuljak, Marina Abramović, the Slovenian group OHO, The Group KOD from Novi Sad, the group Bosch+Bosch from Subotica and artists Radomir Damnjan, Slavko Matković, Era Milivojević and others.
Although the texts are written for various publications, here they are organized in a very logical and clear structure, with the help of which the term of the art of the other line is established. The possibility of establishing such an organization over a series of texts that were incurred during a period of over twenty years is the result of Ješe Denegri's continuous critical effort for the idea of the art of the other line.