The final chapter considers the profound influence of child art, tribal art and outsider art on many major Modern artists and art movements of the early twentieth century. Following the argument of the preceding chapters, that these categories of people are all situated in various states of orality, the chapter considers what can be learned from their stylistic emulation and the implications of this artistic influence during this period. Ong and McLuhan suggest that there is a much more complex motivation for this stylistic shift, which is related to the remarkably oral tendencies of modern, technological society, which is the result of new and developing forms of media. They even go as far as to suggest a partial return to orality in modernity, an era of ‘secondary orality’, which is largely the result of this incessant and extreme redistribution of the senses by new technologies. Numerous major movements of the twentieth century, including Cubism, Surrealism and Vorticism are examined in light of this thesis, and their connections to oral aesthetics uprooted and closely examined.