Photography in the seventies distanced itself significantly from its purely utilitarian function to engage in conceptual art. The presence of photography at this time is paradoxical. Despite the fact that the recognition of ephemeral art entirely depended on this medium, its contribution to emerging art was undermined by the artists and critics. Consequently, the authorship of photographs got lost in the artists’ publications and mail art exchange. As a result the major part of iconography of the sixties and seventies remains anonymous.

Sylwia Serafinowicz will use the example of the works from the collection of the Wrocław Contemporary Museum to analyse the complicated issues of authorship, collaboration between the photographers and artists, as well as the relationship between the documentation and the work of art.