He is known for "Embarrassing Realism," "Pop Surrealism," and "Ost-Pop," art movements characterized by their critique of society and media through ironic or melodramatic subject matter.

He emigrated to West Germany in 1969, became a German citizen, and attended the Kunstakademie Düsseldorf in 1970–1975, where his teachers included Joseph Beuys and Gerhard Richter.

Going against the conceptual mainstream at the academy and the leftist leanings of the era's art scene at the time, Kunc instead focused on empathy, irony, sarcasm, color, and experimentation.

During this time, he collaborated with Jörg Immendorff on, among other things, posters, performances, and happenings (art actions) with a socio-critical commentary on the era's lack of environmental awareness – a subject that Kunc has explored throughout his career using his inimitable visual vocabulary.

During this era, he exhibited alongside artists such as George Condo at the Pat Hearn, Sprüth-Magers, Barbara Gladstone, Tony Shafrazi, and Robert Miller galleries.

[4] This artistic style marked the beginning of an experimental period during which Kunc processed his personal experiences from the Cold War, creating objects that brought together consumer society, ideology, East, and West.

His intense occupation with subjects related to the environment, media criticism, and the mystical and surreal produced another creative period in which he created more than a hundred ceramic pieces, of which the Louis Vuitton Collection acquired a number of fashionably whimsical objects.

After the fall of the Iron Curtain, Kunc was invited by Czechoslovak President Václav Havel to hold a solo exhibition at Queen Anne's Summer Palace near Prague Castle.

[7] In 2021, Kampus Hybernská in Prague honored Kunc with a solo exhibition titled Beyond the Imagination: Paintings and Sculptures 1968 – 2021, which presented a comprehensive look at his various artistic periods.

His unique visual style introduces new accents into figurative art and draws inspiration from Czechoslovak artistic tradition (portraiture, mystical landscapes, Symbolism, Cubism, caricature), which he further develops using his own stylistic approaches, themes, and critique of the current Zeitgeist.

Kunc's ironic and provocative take on everyday life and his embarrassing yet resonant interpretation of burning sociopolitical issues can be found throughout his entire career.

His paintings in the Embarrassing Realism series, for example, flirt with the crusts of the earth and clearly go beyond not only good taste, but also political correctness, following the example of Magritte's Période Vache or certain works by Picabia or Kippenberger (who admired them).

Totally atypical, Kunc is a virtuoso draughtsman and painter, paradoxically imbued with irony and idealism, whose exceptional and singular itinerary [took him] from the tanks of the Red Army to the temples of contemporary Western aesthetics.

By the end of the 1970s, he had already taken interest in some of the major themes dominating art today, such as ecology, feminism, the denunciation of media and political formatting, totalitarian individualism and the affluent consumer society.