The artist is a cultural trickster, mocking aspects of culture as he reveals what was previously unknown. Characterized this way, all art an be seen as parody. The most novel approach is a reconfiguration of previous approaches. Even the Formal masterpieces of high Modern carry an implied reference to the work that came before them. New art recognizes previous art as progenitor, and recasts at least some of its elements into a new context. This process qualifies the sociocultural conditions in the new work as contiguously evolved from the previous, and at the same time reconfirms the relevance of the heritage of which it is an extension (Hutcheon). Paradoxically, the parodic nature of art works to stabilize the fragmenting structures of our cultural heritage even as it erodes their credibility. The realization of the art parody has value as a revelation with metaphysical content. Art parody is a deconstructive strategy that recasts metaphysical truth into a new synthesis of viewer, history and burgeoning worldview.

The use of art historical parody in public art has an enculturating affect on the viewer. The parody creates a matrix between popular culture and art history. The contemporary values expressed in the mural are seen as an extension of our cultural heritage while the relevance of our heritage is validated in the contemporary setting.