The most recent development in black cultural studies is post-blackness, an epistemology of twenty-first century black aesthetics grounded in scepticism about any fixed notion of black art and culture. Coined in 2001 in the field of black visual culture by Glenn Ligon and Thelma Golden, it builds upon the search of the black arts movement of the 1970s to define and specify black art, and the ambivalences and failures that resulted. Post-blackness combines 'mixed media, abstraction, satire, and sheer experimentation' in literature and visual art to convey a cultural mood of disinvestment from notions of authentic, bounded, or representational blackness. Regarding the latter point, writer and cultural critic Touré argues that the advancement of the black middle class after World War II transformed blacks into an intellectually, economically, and academically diverse community, such that there are innumerable ways to 'embody or wield' blackness. Additionally, every person racialized as black has an 'authentic' black identity that makes it impossible to 'do' blackness incorrectly. Thus, postblackness troubles and complicates blackness, embraces its errancy and excess, and emphasizes its 'stillness-in-motion', without anxieties over 'losing' it.