This Bachelor thesis presents a systematic overview of the artistic work of Tomislav Gotovac, one of the most influential Croatian artists of the 20th and 21st century. Along with short biographical lines and a description of the historical context in which Gotovac appears, a comparative analysis of the main characteristics of the artist's tendencies is presented through the prism of the Croatian neo-avant-garde. There is a detailed overview of the artist's work in the media of performance and film, with analyses and interpretations of his most important works, such as Showing Elle, Happ Ours, the Belgrade trilogy, 100 (Whistling), Zagreb, I love you! or Paranoia view art (hommage to Glenn Miller). Chronological overviews are divided into temporal and thematic subchapters. Throughout the text of the thesis and its interpretative contributions, it is quite evident that there is a high degree of media anticipation from the very beginning of Gotovac's work, as well as an anticipatory view of the future and politics represented in his paranoid view of art and the world. His cinematic way of thinking in insisting on photographing his actions, as well as a comprehensive anarcho-individualistic approach to authorship are also easily noticeable. Gotovac's experiment with fine arts in the medium of collage is briefly illustrated. The most important individual and group exhibition activities are listed, and there is a description of the function of the Tomislav Gotovac Institute, operating from his Zagreb address.