A date belongs to an event.
The year in an exhibition title may describe an artistic period rather than the exhibition itself. Inventing Abstraction, 1910–1925 opened in 2012. A press conference or a diplomatic visit is another kind of event, and its date should not silently become the exhibition’s opening date.
Our year filter includes every calendar year in an exhibition’s documented run. For the Natanov projects, only the reported year is used where a full run is not established.
The photograph is a partial view.
A gallery image can show relationships between works, display furniture, lighting and visitors. It cannot show what lies outside the frame. A group of photographs is therefore a sequence of views, not automatically a complete reconstruction.
The sixty Natanov photographs retain their source grouping and sequence. We do not identify people from appearance or turn a visible painting into an independently verified attribution.
A catalogue is not a press release.
A catalogue can preserve essays, object entries and a checklist. A guide may record the interpretive route offered to visitors. A press release describes how the institution presented the exhibition publicly. Each belongs in the archive, with its document type intact.
Where only a reference is available, we link to it. A mention of a catalogue is not evidence that a complete digitised copy is available.
Keep the source attached.
Institutional records and collection-owner accounts are both useful, but they answer different questions. An owner-published chronology tells us how a collection presents its history; museum records may provide independent corroboration.
The Natanov dossiers are labelled “Owner archive”. The international entries cite museum or institutional documentation. Our summaries and research notes are editorial interpretations, not statements on behalf of those institutions.