Although Toyism has been around since 1992, the social impact and importance is only now beginning to get recognized. This has everything to do with the prevailing zeitgeist and the realization that Toyism contains instruments that can give visual arts an anchoring point in broad social sections. Whether it is establishing the framework, determining the playing field, coming to clear agreements, addressing offenders for their behaviour and course of action, or even worse: punishing them for unsporting conduct, it all sounds pretty severe and formal and is therefore mostly seen as a nuisance. Though still: playing together is fun, particularly if those who take part know and obey the rules. Rules are made to clarity and prevent things from getting out of hand in the heat of the moment. However more importantly: they can increase the enjoyment. In contrast to what is often believed, agreements and strict rules need not interfere with the pleasure or the creative process. Drawing the lines during the game and knowing the boundaries of the playing field, handling restrictions creatively and attempting to obtain the maximum out of yourself and the game, are things that Toyists know all about. Actually, that’s what it is all about for them. The movement effectively bridges the gap between high and low culture and seeks new ways to communicate with the public. This leads to an exciting search for the way in which the discussion about the social playing field by visual arts can be lifted to a higher level without losing sight of the clarity and purity of the intentions. Public participation is enforced in a playful way and generates joy in which all parties feel involved. Toyism is carried and propagated by a collective of internationally operating artists.