What is discussed here are the events taking place in Sweden in 1885, a turbulent year in Swedish art history. It is shown how the conception of Swedish art, in creating a Swedish identity in art, was expanded.  Two exhibitions were analyzed, Akademiens för de fria konsterna Jubileumsutställning and Opponenternas utställning. While the artists exhibiting at the Academy were using traditional strategies and thechniques, several artists at Opponenterna, were using modern techniques they had learned outside the Academy, mostly in France. These techniques were: experimenting with perspective and the use of empty spaces in mediating ambiance. The third strategy was that of individualization by moving closer to the motif. These techniques and strategies are known to be early modernist techniques. Reviews, discussing Opponenternas utställning - from a traditional academic and a modern, French, stand-point - were analyzed. Even though the reviewers did not appreciate techniques  relating to much to ”the opposite side”, they agreed on an extended classification of portraiture and landscape painting in defining a Swedish identity in art. They also agreed on that, what could be considered as artists too much inspired by the French, should not be appreciated as classificatory. The exhibition itself, with influences from modern French exhibition techniques, and its artists, thus broke up the academic monopoly in defining and constructing Art in order to obtain a Swedish identity as a nation.