Self-managed social centres (SSC) are a unique historical phenomenon which has resulted in interesting individual works as well as outstanding ambients. Academic research from the perspective of art history about SSCs, however, is almost non-existent, and this thesis aims to fill the vacuum. The goal of the thesis is to analytically approach the art of SSCs in Croatia on the case of SSC Medika, at the same time creating a theoretical framework for understanding works in SSCs in general. The first part of the thesis, the theoretical one, is dedicated to the construction of an interpretative framework for reading works of art in SSCs. The first chapter after the introduction thus goes into relevant anarchist theory, the practice of SSCs in contemporary anarchism, and the relation between art and anarchism. The second chapter analyses the dominant medium through which the art of SSCs manifests, the medium of street art, and concludes that this medium has a natural alliance with anarchism in itself, holding the same devotion to decentralisation, participation, DIY culture, non-hierarchy, resistance to the dominant social order etc. The third chapter connects said theory with modern and contemporary art theorists such as Mieke Bal, W.J.T. Mitchell and Roland Barthes, so it could, finally, with the help of Deleuze and Guattari and their concept of the rhizome, posit that the works of street art within SSCs can be read as iconographic programs. In the thesis it is argued that, despite the lack of a singular author, it is possible to read seemingly random clusters of works as semiotic wholes connected rhizomatically, a hypothesis that is then tested on the case of SSC Medika. The fourth chapter thus, keeping in mind the presented anarchist and art theory, classifies two hundred documented works by thematic frequency, and then decodes these categories and their interaction with one another on the basis of anarchist theory as well as interviews with artists and important organisational agents in Medika. The interpretation of the rhizomatic iconographic program of SSC Medika finally yields a specific set of motifs and themes which elucidate her values with which the theoretical part of the work is put on concrete foundations, while the documented works are elevated to a wider theoretical framework.