The Ion Dumitru Collection was donated by Ion Dumitru to the National Institute for the Memory of the Romanian Exile (INMER). The donation of this private archive was possible as a result of the efforts made by the institution to identify exile collections for the purpose of bringing them to Romania and of opening them for research. After making a full inventory, the institute opened the collection for researchers and the general public in 2006. The Ion Dumitru collection is an extremely important source of documentation for the history of Romania under the communist regime, especially for the ways of self-organisation and action of the postwar Romanian exile community.

On the 20^th anniversary of the festival of new theatre Eurokaz, its founder and director, Gordana Vnuk, published 20 years of Eurokaz [1987-2006] in English. It is the language of this monograph that is its most important feature, because it also addresses international readers and makes them familiar with the achievements of Eurokaz. As the monograph Eurokaz: 1987-2001 was important to the documentation of Eurokaz's work in the Croatian language, so is the book 20 years of Eurokaz: [1987-2006] significant to the non-Croatian speaking area because, in addition to the description of its curatorial concept, it provides an overview of all previous festivals with the listed performances, programs and program texts and photographs. 

A transcript of the discussion that took place following the opening of the exhibition The Continuous Art Class, The Novi Sad Neo-Avantgarde of the 1960s and 1970s on 18 November 2005 at the Museum of Contemporary Arts Vojvodina in Novi Sad, moderated by Želimir Žilnik, has been published in Omitted History in Serbian and English. One of the guests, Lazar Stojanović, was from the Belgrade Circle and had during socialist times received a prison sentence following the release of his film Plastic Jesus (Plastični Isus, 1971), which the discussion sought to analyze and demystify. The discussion touched upon the question of dissidents; in the opinion of Želimir Žilnik, in SFRY, there were none. Films like Želimir Žilnik’s Early Works (Rani radovi) and Dušan Makavejev’s WR – Mysteries of the Organism (WR - Misterija organizma) were available for international distribution but not for screening in SFRY. Hence, the state presented an image of liberal socialism and made money from international screenings, whichmakes things very complex. The discussion also included Miško Šuvaković, Latinka Perović, Zvonko Maković and Bálint Szombathy.