For many artists in 'Contemporary Art', 'past' is not lost, forgotten, completely closed. On the contrary, the aim of what is in this direction; is to create a 'now' that is often obvious that does not break the line with the past with many thought-based such as questioning, origin, appreciation, criticism, parody, and a new understanding. However, what I mean here is not a doctrinal viewpoint, or in other words, an idea of repetition with the intention of art education. For these artists, this tendency is a takeover. Maybe it's a transfer of heritage. We can consider them as artifacts that are nourished in a sense. This dialogue established in the past does not only reveal the traces of the memory of the artist. The audience is also active in this process. He/She also constructs his or her recognition with new meanings on the new. In this descriptive scanning model research, there are some artworks of contemporary artists Yinka Shonibare, Russell Connor, Cesar Santos and Herman Braun-Vega. With these examples, I tried to find answers to the question of how the past was brought to the present, what was taken and what was not taken, and on what basis the thought was based. It was concluded that the artists who took the past artworks, interpreted them with the language of the present and were included in the research were different from what they wanted to say. In order to convey what they want to say, it was seen that they chosen artworks that are known somewhere in the mind of the audience. In this research: A detailed examination was made with visuals on which artwork or artworks of the new artwork took over and why. This will provide a better understanding of the tradition or the past, which is an important place in today’s art. Keywords: Repetition, Yinka Shonibare, Russell Connor, Cesar Santos, Herman Braun-Vega