By analysing the exhibition, one can detect a visible, although not obvious, thread that allows one to follow a few artists throughout their opus, such as the one of the noteworthy Vojo Dimitrijević. One can follow his works from his early days of revolutionary youth (“Spain 1937″, 1938, “Portrait of Painter Ismet Mujezinović”, 1939), throughout his adulthood creations that were calmer in their motives and forms (“A Street under Snow”, 1951) and then finally to his mature works at age of 63 and onwards where he has embraced abstraction (“Messages”, 1973). However the artist works come to life once again with Braco Dimitrijević’s installation («Triptychos Post Historicus», 1982) that serves almost as his reincarnation. Each of these paintings contradicts the others, and it seems absolutely incredible that they were all signed by the same hand.