So much has been written about Miroslav Tichý over the course of three years that, for many, he has undeservedly quickly found his place alongside famous Czech photographers such as Josef Sudek or František Drtikol. They all share an unusual lifestyle, their photographs command high prices and their work evokes strong reactions from both audiences and theoreticians. In professional circles, new older artist are usually accepted with reservations, but his individual exhibition, a small monograph including a theoretical text and biography, and an erudite review1/ have paved the way for this artist\'s presence to be clearly felt in the Czech art world. There is a catch, however. The current efforts at judging or placing the artist\'s works within the context of art history are all too reminiscent of the many years during which state institutions worked to deny Tichý a free and authentic way of life.2/
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