The State Archive of Literature and Art was established in 1968, when a branch of the Central State Archive was made into a separate archive. All the documents relating to literature and art (including the Union of Writers collection) were transferred to the new archive. 

The pirate records of Led Zeppelin’s first concert constite a special part of the holdings of the music collection. Péter Hont acquired the recording as private property when the collection was eliminated in the early 2000s.

The Jan and Meda Mládek collection is the core of Museum Kampa exhibition. Besides works by František Kupka, an “undesirable artist” during the communist era, there is a broad collection of other works by artists from Czechoslovakia, Hungary, and Poland that do not follow the official socialist style.

Gábor Klaniczay traveled to Paris for the first time in 1967, when he spent one year in the city. This journey was followed by more. During his travels, he collected an array of different material: leaflets, proclamations, and posters about alternative cultural life and student movements. These documents reveal the kind of ideas, trends, performances, and exhibitions he was interested in at the time. This particular item is a leaflet of Bread and Puppet Theater’s performance in Paris, entitled “Notre résurrection américaine.” 

Ivan Blatný emigrated to England in 1948. In Czechoslovakia, he was labelled a “traitor” and became a banned author. Later, the Czechoslovak Radio even falsely announced that Blatný had died in England. In 1968, during the era of the “Prague Spring”, the interest in Blatný and his poetry grew in Czechoslovakia. An example of this increasing interest, there was a programme dedicated to Blatný’s poetry called “The Smells of Brno”. This programme, advertised by a small poster from the Ivan Blatný Collection, was organised by the Czech director and artist Karel Fuksa in the Brno House of Arts. Blatný’s poems were recited by Czech actors Ladislav Lakomý and Helena Kružíková. According to Fuksa, the hall was full. In the same year, the Blok publishing house issued the second edition of Ivan Blatný’s “Melancholic Walks”, and Blatný’s poems sporadically appeared in Czechoslovak press or on the Radio. Then, Blatný’s texts could be officially published in Czechoslovakia only after 1989.

Lika Yanko was a Bulgarian painter, daughter of Albanian immigrants. She studied at the French College in Sofia. In 1946, Lika Yanko enrolled in the State Academy of Arts studying painting in the classes of Prof. Dechko Uzunov and Prof. Iliya Petrov but she was not allowed to do a diploma work. Her first independent exhibition in 1967 in Sofia was closed down prematurely. Lika Yanko continued to draw, choosing isolation and refusing to take part in art exhibitions and to be dependent on juries determining the limits of the permissible. Until 1981 when she received an invitation for exhibition by Lyudmila Zhivkova, her paintings had never been exhibited publicly. She managed to subsist due to the redemption of her paintings by foreign embassies and diplomats. Since those were "unauthorized contacts", Lika Yanko was under constant surveillance, observed and eavesdropped by the structures of the State Security; however, her record was destroyed.

At the beginning of her career, Lika Yanko drew landscapes, portraits, figured compositions. After the closing of her exhibition, she completely laid aside any restrictions in her painting. In the 1960s, Lika relinquished the landscapes and embraced the mythopoetic composition: she stylized the forms, shortened the spatial plans and distanced herself more and more from the principles of nature-resemblance defended by the authorities. Her self-portrait of 1968 shows a face half-covered by bars, a symbol of interdiction. Her paintings of the 1970s are dominated by themes from Christianity seen through the eyes of the author. Lika Yanko used the rope as a contour, incrusted beads, buttons, nuts, splinters, and pebbles interweaving astrology, Christianity, reflections on eternity and the initial things.

In the course of her entire life, Yanko had only 7 exhibitions; she died (of pneumonia) only a few days after the opening of the last one at the Cavalet Gallery in the city of Varna. While still living, Lika Yanko presented the National and the Sofia City Art Gallery with paintings.

In the absence of an organized rebellion which was present even among the Soviet artists, the most common form of resistance in Bulgaria, according to Iliev, was the self-isolation. Lika Yanko was an example of such type of opposition to the regime. 

In 1989, Lika Yanko received the Sofia Award.

The fourth New Tendencies event was held in Zagreb from August 1968 to August 1969. Tošo Dabac visited the event, where he took a photograph of one of the meetings of participants. The photograph shows Dušan Džamonja, Marija Braut, Božo Beck, Ivan Picelj and Victor Vasarely.