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Abstract
The article examines how artistic collaboration and social engagement are present in 20th-century Bulgarian printmaking. It traces its footsteps from its academic inquiries, through its avant-garde and expressionist periods, to its development in conditions of ideological thematic and stylistic restrictions behind the Iron Curtain. Conclusions are drawn about the possibilities and forms of joint artistic activities of printmakers and the terrains print offered for experiments, research and engagement in diverse political and sociocultural contexts.
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