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21. aprila 1949 je UDB-a poslala k Hedy Samec svojega agenta-provokatorja, ki se je izdajal za odposlanca nekega nemškega vojaka, ki ga je spoznala leta 1944 v Ljubljani. Cilja misije sta bila dva: prvič, preveriti, ali bo gospa Samec pripravljena vzpostaviti stik s sumljivim tujcem; in drugič, v primeru pritrdilnega odgovora, pa so jo želeli pridobiti za sodelavko UDB-e.

Načrt se je ponesrečil, saj je gospa Samec o obisku nemudoma obvestila moža, ta pa je obisk sumljivega neznanca prijavil na policiji. UDB-a je z obiskom ugotovila, da se gospa Samec preveč boji kakršnihkoli stikov z neznanci, zato je ne bo mogoče pridobiti za sodelavko, lahko pa s pritiskom na Hedy prestrašijo tudi Maksa Samca.

Pričanje Andreja Aplenca o jetništvu na Golem otoku je potekalo pred mlado publiko dne 27. avgusta 2014 v Ljubljani. Aplenc je bil dvakrat jetnik na Golem otoku. Prvič so ga tja napotili leta 1949, na leto dni prevzgoje, drugič pa leta 1952 in sicer za dve leti. Razlog za prvo zaprtje je bila njegova kritika o pomanjkanju svobode govora v Jugoslaviji, ob čem je še posebej zagovarjal večjo svobodo izražanja mladih. Razlog za drugo jetništvo pa je bila zavrnitev sodelovanja z UDB-o, ki ga je želela rekrutirati za svojega ovaduha.

Dogodek je organiziral Študijski center za narodno spravo in je zabeležen v njihovem Arhivu pričevanj kot eno izmed pričevanj o okorelosti komunističnega sistema po vojni, ki se je lomil tudi preko mladih ljudeh. Posledica pa je bila razočaranje v sistem in Aplencov odhod v emigracijo. Pričevanje je javno dostopno ob predhodni prijavi (zaprosilu) za uporabo, vendar do danes še ni bilo uporabljeno.

1990 (1994), (set of three books in a paper case).
The bookwork focuses on the topic “Freedom/Oppression: Central European Artists in Response.” In 1989, when the Soviet Union lost control over the Eastern Bloc countries, in the Visual Art Research Studio of Arizona State University three Hungarian artists selected with the help of Artpool began to work on the project. Peter Forgács, György Galántai, and poet György Petri were invited to Arizona to collaborate with the staff of the Studios, and as the fruit of their labors, the bookwork was produced in 1994 in 225 numbered and signed copies.

Since the 1960s, Ivan Manolov Petkov – Turkata, who was a civil engineer by profession began drawing as an amateur painter. His paintings are in the style of the dramatic and grotesque visions of the world typical of the works of Pieter Brueghel the Younger (also known as Hell Brueghel) and Hieronymus Bosch as well as of Paul Delvaux and Salvador Dalí. The varieties of surrealism were forbidden since they were particularly dangerous for the regime with the ridiculing of the utopias. At that time, the knowledge that Marxism was an utopia was already present in Bulgaria. The works of Ivan Petkov – Turkata were not allowed to participate in art exhibitions but in 1977 he managed to make an independent exhibition in the hall of Sofstroyproekt – the institute where he worked as an engineering technologist. The exhibition was closed down prematurely.

The State Security put him under surveillance by the code name "The Painter" and kept a record with "materials" – slanders with the purpose of "preventing, neutralizing the enemy activity". Investigated by the State Security, interrogated, eavesdropped and kept under observation, Ivan Petkov ceased making public statements against the regime and began expressing his opinion of the "people's power" through his paintings.

Despite the regular interrogations, denunciations and warnings, Ivan Petkov created influential paintings-metaphors in which his criticism of the regime was surreptitiously expressed. The paintings "Anthropological Excavator" (1981) and "Lobotomy" (1983) are one of his large-scale metaphors of socialism – socialism as antihuman, disabling regime (after lobotomy, man becomes mentally and emotionally paralysed).

Ivan Petkov used mainly oil-paints on canvas or wood but also water-colours and mixed techniques. He experimented with sculpture and decorative art. The painting "Anthropological Excavator" which was property of the painter's inheritors was part of Petkov's independent exhibition "Surrealism in Time of Socialism" (2015, curator Krasimir Iliev) at the Loran Gallery during which it was bought by Angel Gatev.