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Autonomni kulturni centri (AKC) unikatan su povijesni fenomen koji je rezultirao zanimljivim individualnim radovima i neponovljivim ambijentima. Akademskih istraživanja iz perspektive povijesti umjetnosti o AKC-ovima, međutim, gotovo da i nema, a ovaj rad taj vakuum nastoji popuniti. Namjera je rada analitički pristupiti umjetnosti AKC-ova u Hrvatskoj na primjeru AKC Medike te pritom stvoriti teorijski okvir za poimanje radova u AKC-ovima općenito. Prvi je dio rada, onaj teorijski, posvećen upravo stvaranju interpretativnog okvira za čitanje radova u AKC-ovima. Prvo poglavlje nakon uvoda tako ulazi u relevantnu anarhističku teoriju, praksu AKC-ova u suvremenom anarhizmu te odnos umjetnosti i anarhizma. Drugo poglavlje analizira dominantni medij kroz koji se umjetnost AKC-ova ispoljava, medij ulične umjetnosti, te ustvrđuje da on po sebi ima prirodno savezništvo s anarhizmom gajeći istu predanost decentraliziranosti, participativnosti, DIY kulturi, nehijerarhičnosti, otporu dominantnom društvenom poretku itd. Treće poglavlje iznesenu teoriju povezuje s modernim i suvremenim teoretičarima umjetnosti poput Mieke Bal, W.J.T. Mitchella i Rolanda Barthesa, kako bi na koncu, uz pomoć Deleuzea i Guattarija te njihovog koncepta rizoma, postuliralo da se radovi ulične umjetnosti u AKC-ovima mogu čitati kao ikonografski programi. U radu se argumentira da je, unatoč manjku jedinstvenog autora, moguće ove naizgled nasumične nakupine radova čitati kao značenjske cjeline koje su povezane rizomatski, a ta se hipoteza zatim testira na primjeru AKC Medike. Četvrto poglavlje zato, držeći u vidu iznesenu umjetničku i anarhističku teoriju, dvjesto dokumentiranih radova klasificira prema tematskoj učestalosti, a zatim ove kategorije i njihovo međudjelovanje dekodira na temelju anarhističke teorije te intervjua s umjetnicima i bitnim organizacijskim akterima u Medici. Interpretacija rizomatskog ikonografskog programa Medike zaključno donosi specifičan set motiva i tema koji otkrivaju njene vrijednosti čime je teorijski dio rada postavljen na konkretne temelje, a dokumentirani su radovi uzdignuti u širi teorijski okvir. 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.