The conflict between different political opinions which had prevailed since the end of the third decade culminated in 1976, when the military government took violent action against the people and university students. Thus, the "Art for Life" movement which had developed toward the end of the previous decade continued through the early days of this period. The feeling of suppression can be witnessed in the works of Lawan Upa-in, Pratuang Emjaroen and Paisan Thirapongvisanuporn. Following the government's complete crack down, which focused on the communist party and its supporters, the conflict gradually settled and mid-way through this decade it became possible for the exiled university students to return home.

Although Thailand did not have a fully democratic political system and the country's economy - which had plunged over the past decades - was yet to recover, the increasing stability of the government of Gen Prem Tinsulanonda, and the lessening of confrontations between political groups had caused a weakening in the "Art for Life" trend. This stability allowed the Thai art circle to prepare for another wave of new modes and means of expression.

In 1980, Kamol Tassananchalee brought his new environmental and installation art works back from USA to exhibit at the National Art Gallery. This was followed by waves of environmental sculpture by Chalood Nimsamer, mixed-media works by Tuan Theerapichitr, Thammasak Booncherd, Vichoke Mukdamanee as well as video and performance art by young artists like Apinan Poshyananda and Kamol Phaosawasdi. The work created during this decade can be considered to be the beginning of multi-media modern art in Thailand.

As these artists developed their works in line with international art trends, another group of artists drew their inspiration and means of creation from local artistic sources. This traditional revivalism had been boosted by the opening of the Thai art department at Silpakorn University in 1977. Many graduates from this school successfully went forwar d and nurtured art of this kind. Among them were Chalermchai Kositpipat and Panya Vijinthanasarn. In addition, the awareness of identity among artists from various regions was very high during the period. This led to the emergence of various artists group whose names signifying their origins, such as Lanna Group (1978), Thai Art' 80 (1980), E-sarn Group (1981) and Four Artists Group (1981). It seemed that as one group of artists inclined towards international art practice, another group would emerge and slow down the momentum.

Print-making, which had its infancy during the previous decade, continued to grow strongly. There were several new techniques introduced to Thailand and these were enthusiastically received by young print artists. Examples of fine prints of this period are the works of artists such as Decha Warashoon, Kamol Suwutho, Prayat Pongdam, Kanya Chareonsupkul, Watcharee Wongwatanant and Naiyana Chotisuk.

The increase in exhibition spaces during the decade encouraged the creation of all forms of art. The National Art Gallery was opened in 1977 followed by the Silpakorn University Art Gallery in 1979. Private companies gradually took on the role of art patron through the organization and financial support of new art competitions. Thai Farmers Bank started the Contemporary Art Competition in 1979, while the Thai Investment and Securities Company Limited began their collection in 1971. Such companies set the model which would be followed by private companies during the next decade.

The attention of the press was increasingly drawn to the art scene. Several magazines such as Chaturas (1976), Patee (1977), Muang Boran and Art World Journal (1984) started publishing articles and to report modern art.

The possibilities for new artistic expression and the growth of art patronage during this decade led to the co-existence of diverse art forms and ideas in the fifth decade.