The American artist Christo (Christo Vladimirov Javacheff) descends from a Bulgarian industrialist family.

In 1953, he began his studies at the Higher Institute of Fine Arts (HIFA). In 1954, the talented student painted the painting "Rest". That was a time when the theme of "socialist building" established itself as a leading one in art. The representation of the development of heavy industry (factories, reservoirs, highways, works) was a priority. The collectivization (respectively mechanization) of agriculture and livestock breeding was also one of the important topics in propagandist art: portraits of brigade leaders, shock-workers, innovators, team leaders, heroes of labour, eminent front-rankers, labour competitions "running high". The painting of Yavashev lacks a labour enthusiasm – the faces are depressed, the poses express fatigue, the falling horizon dramatizes the feeling of despair (Iliev 2016: 106). The painting was highly criticized by the Rector of the Higher Institute of Fine Arts, Prof. Panayot Panayotov, "because of the colourful clothing and the inclined horizon" (Stefan Javacheff, cited through Iliev 2016: 106). The Rector determined the clear ideological requirements of the Institute: "Our institution of higher education is ideological. It is wrong to think that the good painter, sculptor or applied artist could fulfil the tasks required by the present day regardless of whether he has or has not a socialist view of life, a new vision and attitude toward the world." (Panayotov 1958, cited through Iliev 2016: 106). Thus, the painting was not only criticized but it remained unknown, preserved by the painter's brother. 

Christo Javacheff found a way out of the environment that suppressed art by emigrating in 1957. Together with his wife Jeanne-Claude Denat de Guillebon Christo Javacheff became world-known. 

After the political changes, the art of Christo Javacheff – Christo slowly won official recognition in Bulgaria. Christo's first significant exhibition was realized not until 2015 at the Sofia City Art Gallery.

The composition "Rest" never left the home of Stefan Javacheff; its reproduction in real size was shown for the first time at the exhibition "Forms of Resistance".

The collection includes Croatian State Security Service's file on the case of first and best known Yugoslav dissident, Milovan Djilas, and its reception in Croatia. During 1953, Djilas published a series of articles in the newspaper Borba on the need for democratization and liberalization of Yugoslav society, which led to his condemnation at Party forums and expulsion from the League of Communists of Yugoslavia. In Croatia, similar ideas were mainly manifested in the weekly Naprijed, the official newspaper of the Communist Party of Croatia. It led to open conflict with Party leaders and the suppression of the newspaper, while its journalists were forced to halt their careers in journalism. The collection includes different analysis and reports on operational measures conducted by the Croatian State Security Service against the Naprijed group and other Djilas supporters (Djilasovci) in Croatia until the beginning of 1960s.

The collection of incomplete investigative files at the National Archives of Estonia is an extensive, though partial, set of investigative files about people who were persecuted during the Soviet period. A significant part of the collection is made up of the files of persecuted cultural figures. The cases included in this collection were still open when the KGB was liquidated in 1991. 

The photographies from the Tomislav Peternek collection at the Museum for Contemporary Art in Belgrade document scenes of significant historical protests and conflicts between people and the police in socialist Yugoslavia. In addition to the photographers outstanding faculties in aesthetic terms, the photographies are examples of the modernist current that have intersected with photographic socrealism. The photo from the series "Red University" [Crveni univerzitet] was part of a significant exhibition held at the Belgrade Youth Center [Domu omladine Beograda] right after the end of student protests in Belgrade in 1968 despite the high risk to be threatened by the authorities and the police.