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All 24 photographs have the same relevance. The album of photographs is important, because it shows the attitude of the KGB towards the anti-Soviet event and youth protests. On the other hand, it also shows the attitude of the younger generation of Lithuanians towards the regime. The album is significant as a collection, because scholars do not know of any other such collection that shows the events in Kaunas so consistently.

Géza Domokos (1928-2007) graduated in Moscow from the Maxim Gorky Literary Institute. After returning to Romania, he served as editor at several journals and newspapers, and in 1961 he became editor-in-chief of the minority department of the Literary Publishing House (Editura pentru Literatură). In 1968–1969 he was deputy editor-in-chief of Előre (Forward), a nationwide Hungarian-language Party newspaper. From 1970 until August 1990 he was the director of the minority publishing house Kriterion. For a time, he was the vice-president of the Writer's Union of Romania, and between 1969 and 1984 he was an alternate member of the Central Committee of the Romanian Communist Party. Géza Domokos was probably the most active Hungarian intellectual in a senior position in those times. After the 1989 revolution, he was among the founders of the Democratic Alliance of Hungarians in Romania, the minority party of which he served as first president until 1993.

The Kriterion publishing house was founded in 1969 in Bucharest with the aim of publishing books in the languages of the minorities in Romania (including translations from world literature) and translations from the literature of minorities into other minority languages and into Romanian. The works were both classic and contemporary. Topics included literature, history, philosophy, and graphic art. For Hungarians in Romania, this publishing house was the most important intellectual workshop outside of the university sphere.

The voluminous Securitate files of Domokos Géza contain a total of ca. 18,000 pages included in 33 volumes of about 500-600 pages each. Four of these volumes contain notes, reports, analyses and other types of documents issued by the Securitate, while the other 29 volumes consist of the minutes of discussions intercepted at his home and workplace, the Kriterion publishing house. These Hungarian-language discussions were translated into Romanian, and they are sometimes presented in a condensed manner and sometimes transcribed verbatim.

In 1988, Vantzeti Vassilev fled to Serbia, from where he moved on to Italy and, eventually, to New York in 1989. During his escape, Vassilev managed to bring out a copy of the manuscript Semenata na straha [The Seeds of Fear]. Another copy of the manuscript remained hidden at home, in the ceiling of his old barn, where he recovered it in 2016. In New York, Vantzeti Vassilev became an author of autobiographic novels. He also finished Semenata na straha [The Seeds of Fear] as a first-person account of the humiliation and impasse of a young scientist under the conditions of a totalitarian regime. The book was published in Sofia in 1991 with the financial support of Open Society Institute and then presented in New York.

A diagram The Stages of the Evolution of Art from 1972 is a graphic extension of the idea which Ludwiński presented two years earlier in the text Art in the Post-art Epoch. Ludwiński often used images and diagrams to better explain his thoughts on history and future of art. As a man of a spoken word, he rarely wrote and rather talked, discussed, and argued in an oral way, helping himself with some notes and sketches. On the other hand, Ludwiński’s drawings are a testimony for his visual imagination. In this case, the evolution of art is presented through overlapping of next rings, analogically to the rings visible in the tree’s section.  

The Stages of the Evolution of Art in a suggestive way show the dependencies and development directions between the main genres in the modern art, as well as design its forthcoming tendencies, through the conceptual and impossible art (thus the streams developed at the turn of the 1960s and the 1970s, all to the phase 0, when art is supposed to disappear in the reality of science, technology, and social life, acting through empathy and over-intellectual understanding).

Diagram is a repository of Zacheta Lower Silesian Fine Arts Association in the Modern Museum Wroclaw and it is presented on the exhibition in two languages: the original (Polish) and in English translation.

In 1947, given the new political situation, the followers of Petar Danov organized the printing of The Testament of the Colour Rays of Light in 1000 copies in the fraternal printing house "Zhitno zarno [Wheat grain]." Due to the harsh economic and political conditions, this printing was not as opulent as previous editions – the paper was almost newspaper quality, stapled together with a cover made from cardboard, but the internal orthographic layout and content are identical.

In 1950 the printing house was closed, the printing machine and other publishing tools were confiscated. At the end of the 1950s, "over 50 tons of reactionary literature by author P. Danov from throughout the country was seized", part of which was sent to the Central State Archive, but part of which was destroyed.

In the period from 1947 until the political changes in 1989, there is no information on any new editions of The Testament of the Colour Rays of Light. The lectures of Peter Danov were not published, and his texts were distributed via samizdat only. It was not until 1994 that the book was re-published. Since then, the book has over 10 printings, translated into English, Spanish, German, Russian and Greek.

http://zaveta.bg/istoria/izdania