Students of the Department of Art and Design of the Belgrade Academy of Business and Art Professional Studies, through a group creative process, produced a series of works of art as a reflection of events in the social environment, as well as within themselves, in the face of a surge of mass support and mass media condemnation. The exhibition was set up in the ULUS gallery. The research focus of this case study is on the threads of the performative nature of the socio-political engagement of students of the Belgrade Academy of Business and Art Professional Studies (BAPUSS) that are not sufficiently visible to the public. This research reveals the internal motivators that built the exhibition, but also the socio-political reality of the students who took part in the Student Movement and its activities. A psychological look at the creative work mixed with the political work of the youth reveals much about resilience, perseverance and inner struggles, which provide a deeper perspective on the political act. The teamwork of artists under pressure, in this case 33 students of the art department, has its own specific characteristics that are not encountered in the conditions of regular business engagements, nor in the spontaneous creativity of isolated artists. The methodology applied to the analysis of creative material follows the principle of methodological triangulation. On the one hand, artistic products and their content are considered from the perspective of the communicational and psycho-social aspects of selected media expressions and artistic products, using interpretive analysis. On the other hand, the content and dynamics of the creative process itself were thematically analyzed, through the focus group technique. The results of the analysis reveal the motives and messages of the exhibition authors, who went in the direction of creating a street in an enclosed space, a street that should be brought inside in a symbolic way, to enter the pores of society, systems, minds, lifestyle. The symbolism of the constructed “block wall”, in the perspective of the authors themselves, goes in different directions of interpretation. The meanings range from seeing obstacles as a synonym for student blockades themselves to positive connotations attached to the word itself after the exhibition, although the word “obstacle” in its denotative meaning and speech practice is an unambiguous sign of difficulty, constraint or challenge.