The book provides easy access to the archival materials preserved in Alojzij Šuštar Collection, which are otherwise accessible only to a limited degree. It documents the struggle of Archbishop Šuštar to force the communist government to grant basic freedoms to Catholics, such as the right not to work on Christmas. It follows his activities in the process of Slovenia becoming an independent state. Therefore, the book is an unavoidable source for studying more recent Slovenian history.

The project ˝Web archive Anti-museum VD Trokuts˝ was the undergraduate thesis of Sanja Kuzmanović submitted for her degree in design from the Faculty of Architecture. Her supervisor was Ivan Doroghy. Darko Schneider, the director of the Anti-museum and general director of the Vladimir Dodig Trokut Anti-museum Foundation chose one hundred characteristic works for the web-archive.

The collection is divided into several sections: The No Art Collections, Ethnomythology, Design and Tourism, Through Everyday Life, Eroticism, Subject Nature, Games, and Toys. The project was attended by Branka Prša and Pavel Posavec.

The provisional selection of one hundred works will be supplemented over time, because it is a museum in the making. In time, a complete chronology of the Anti-Museum’s activities from 1968 to today will be added, with all actions, performances, video films, agitation, proclamations, elaborations, lectures, and seminars, including the wundercammere workshops.

The private collection, established in 2016, presents the life and work of Sevdalina Panayotova. It shows this literature teacher, theater director, public figure, and citizen daily and consistent opposition to the hypocrisy of the structures of state socialism and against the status quo. Sevdalina Panayotova, a teacher and cultural activist, was neither a well-known writer, director, nor a popular dissident, but her whole life and creativity was a rebellion against the attempt of the socialist state to impose narrow standards and norms on everyday life and thinking, a rebellion against pseudo-morals and pseudo-arts, against the principles of socialist realism in literature and theatrical art.The collection of books, scripts, photos from theatrical productions, interviews given by Sevdalina Panayotova and interviews with her, published articles, among others, shows an "ordinary" life of civil and cultural opposition. Sevdalina Panayotova pursued opposition through critical themes in literature and theater as well as through the use of innovative means of expression by resisting against imposed artistic forms. The collection highlights individual estrangement from the socialist state, the dynamics of criticism, and the risks criticism entailed for "ordinary" people. The collection shows the attempt of a "life of truth" and of repeated defiance borne out of a strong moral stance. It is also a good example of a small family collection that maintains personal memories without having a grand political agenda.

A Márton Áron hagyatéka sorozat 13. kötetébe a püspöknek azokat az írásait gyűjtötték össze, amelyeket a hivatalos állami szervekhez intézett.

Márton Áron püspökként 42 éven keresztül képviselte a gyulafehérvári egyházmegyét és időnként a többi erdélyi katolikus egyházmegyét is. Püspöksége nem telt felhőtlen gondtalanságban, a királyi diktatúra éveit követően, a második bécsi döntés után Dél-Erdélyben maradt, hogy reményt nyújtson kisebbségben maradt híveinek, majd a második világháború után nem a várva várt békesség jött el, hanem a szovjethatalom romániai változatának vallásüldöző diktatúrája. A mindenkori bukaresti főhatalommal a viszonya csak igen rövid időszakokban volt segítő vagy megértő, miután vallásbeli és anyanyelvi másságból fakadó kettős kisebbségi nyomás nehezedett a római-katolikus magyar hívekre, a papságra és a püspökre.

In 2016, Gordan Akrap published a book entitled Kardinal Stepinac u dokumentima Gestapo i OZN-e (Cardinal Stepinac in Gestapo and OZNA documents). On the basis of documents from the archives of several institutions, including those from the Croatian State Security Service Collection on Religious Communities, Akrap  shows how Cardinal Stepinac was presented in Yugoslavia and worldwide by the Gestapo and Yugoslavian security-intelligence services.

The collection "Only the Forbidden Newspapers Remain in History!" (Stefan Prodev) is one of the many collections of funds of the National Library "St. Cyril and St. Methodius "(NBCM), containing rich and diverse materials for and from the socialist period.

The newspapers and magazines presented in the collection show the possible forms of opposition by journalists and authors; the ways in which questions of freedom of the press were raised; the attempts to circumvent censorship and to rise critical issues on the regime; to develop new insights into artistic and genre diversity.

The exhibition, designed by Ovidiu Taloş, was opened in Braşov on 8 October 2016. The exhibits were structured in two sections. One brought together large-scale reproductions of about 500 photographs, which were exhibited in the open-air in the park of the Faculty of Forestry, a place well-known as a pedestrian area for locals. The second section consisted of copies of around 100 photographs and was put on display at the Romanian Order of Architects–Braşov, Covasna, and Harghita Branch (Ordinul Arhitecţilor din România–Filiala Teritorială Braşov, Covasna, Harghita; OAR–BV–CV–HR), in the city’s old town. The exhibited pictures come from private photograph collections and the archives of several institutions. The reproductions illustrated various topics, such as the evolution of some areas in the old town at the beginning of the twentieth century, school-related activities in Braşov, leisure time in Braşov and its surroundings, and the city’s expansion during the twentieth century. A part of the exhibits depicted daily life under communism, notably school and patriotic work, as well as building of the new districts during the communist regime. The exhibition was organised under the aegis of OAR–BV–CV–HR, it was financed by the Braşov Municipality in partnership with the local newspaper Karpatenrundschau, which also offered numerous official photographs to be displayed.

A közelmúlt eseményei közül kiemelkedik a 2016-os Notes from the Underground című kiállítás Łódź-ban, a Muzeum Sztuki tereiben, majd újrarendezve 2018-ban a berlini Akademie der Künste-ben, ahol az Artpool Rádió kazettaszámaiba is bele lehetett hallgatni.

Finally, after the end of the war and the distribution of property among the new nation-states, the negative of “Plastic Jesus” was returned to Belgrade, and is housed at present in the Yugoslav Film Archive with “Centar film” continuing to hold the rights to the work. At the beginning of 2016, with the goal of screening the film at the MoMA (Museum of Modern Art) in New York City, the Yugoslav Film Archive remastered the film, reintegrating a controversial scene. This scene had been edited out in 1972 after the consfiscation of the film. DeCuir explains why: "Utilizing archival footage of Chetniks in the movie along with a song about them would be viewed as an extremely confrontational thing to do in Socialist Yugoslavia. What made this insertion worse, when Stojanović took his critical views too far, was the next set of images in this particular montage sequence. After the insertion of the archival footage of Chetniks, Stojanović cuts to archival home footage of the wedding party of Ljubiša Ristić (an actor in the film) and Višnja Postić, both of whose fathers happened to be army generals and who were in attendance at the party along with other government officials - all prominently displayed in the footage. As a result of the associative montage the idea was produced that these officials could be equated with Chetniks - or even worse, were Chetniks. The extreme political sensitivity of this scene proved to be the ultimate undoing of the film.” (DeCuir et al. 2011b, p. 248) The scene was under special ban and the secret service returned it to the Yugoslav Film Archive only in 2009. DeCuir sees the fate of this scene as “a reminder of the extent to which oppositional criticism was suppressed in Yugoslavia, as well as the potential penalties.” (Ibd.)

The new, remastered 2016 version of the movie is the first complete version of "Plastic Jesus" since its creation. Thus, the movie was screened, with the director present, for the first time in its entirety at the Museum of Modern Art in New York City in April 2016.

As a part of the twenty-fifth anniversary of Croatia’s independence, and in cooperation with and under the auspices of the Croatian Parliament, in June through August 2016 the Croatian State Archives organized an exhibition entitled “The Historical Role of the Croatian Parliament in Preserving Croatian Statehood.” The exhibition was divided into four units, for which the last one “Securing Independence for the Republic of Croatia, 1990–1992” also made use of materials held in Vjesnik Newspaper Documentation collection, from the domestic affairs category.