Typical characteristics of his activism in the 1980s and 1990s included use of group identities (such as Monty Cantsin) and collective monikers (e.g. "Karen Eliot"); overt employment of plagiarism; pranks and publicity stunts.

In the late seventies Home produced his first punk (music) fanzines, including early issues of "Down in the Street" which had run to seven numbers by the time he stopped publishing it in 1980.

This and the following three SMILE issues otherwise featured an eclectic mixture of manifesto-style writing, political reflections on radical left-wing anti-art movements from the Lettrist International, the Situationists, Fluxus, Mail Art, individuals such as Gustav Metzger and Henry Flynt, and short parodistic skinhead pulp prose in the style of his then unwritten early novels.

Those Home worked closely with on these shows included Hannah Vowles and Glyn Banks (collectively known as Art in Ruins), Ed Baxter and Stefan Szczelkun.

Unlike earlier art-strike proposals such as that of Gustav Metzger in the 1970s, it was not intended as an opportunity for artists to seize control of the means of distributing their own work, but rather as an exercise in propaganda and psychic warfare aimed at smashing the entire art world rather than just the gallery system.

The Neoist Alliance, his third one-person-movement after The Generation Positive and Praxis, served simultaneously as a tactical reappropriation of the Neoism label for self-promotional purposes, and as a corporate identity for pamphlets that satirically advocated a combination of artistic avant-garde, the occult, and politics into an "avant-bard".

In the mid-nineties Home was also appearing regularly as a live artist at "Disobey" events organised by Paul Smith and featuring music from the likes of techno acts Panasonic and Aphex Twin.

Home's novels in this period no longer incorporated subcultural elements and instead focused on issues of form and aesthetics: 69 Things to Do with a Dead Princess contains capsule reviews of dozens of obscure books as well as elaborate descriptions of stone circles, while in Down and Out in Shoreditch & Hoxton every paragraph is exactly 100 words long.

Stewart Home had previously become a member and activist of that network in 1984, but renounced it one year later and subsequently worked under the collective monikers of "Praxis", later "plagiarism" and the Art Strike movement.

His 1995 novel Slow Death fictionalises and ridicules this process of the historification of Neoism (including the planting of archives at the National Art Library in the Victoria and Albert Museum.

A third 1999 publication, the pamphlet Repetitions: A Collection of Proletarian Pleasures Ranging from Rodent Worship to Ethical Relativism Appended with a Critique of Unicursal Reason, consists of letters, prefaces and introductions.

[6] Alex Kervey of T-ough Press, publishers of the Russian edition of Come Before Christ and Murder Love has reported repression of the book as "pornography and insulting Christian values".

Kervey says this is happening in the context of a campaign run by such far-right groups as the National Bolsheviks against Home, which has included arson attacks against T-ough Press alongside state censorship.