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--- c3-2 [19.02.2023 15:05] – admin
+++ c3-2 [19.02.2023 15:14] (current) – admin
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 Although he was a regular participant of almost all exhibitions, programs of the C<sup>3</sup> Foundation or earlier the Soros Center for Contemporary Arts (SCCA),[([[http://catalog.c3.hu/index.php?page=person&id=136|http://catalog.C3.hu/index.php?page=person&id=136]] Accessed 1.3.2022)] documentation regarding him is fragmented and partly unsystematic in the archives and collections of C<sup>3</sup>, moreover, which of his previously exhibited pieces, if any, could be reconstructed without the artist and at what standard, remains questionable.
-Hereinafter, citing three examples, we are going to describe the shortcomings and pitfalls of documentation methods in the archives of C<sup>3</sup> and, beyond this, those characteristic of Hungary in the 1990s regarding new media art. Please note that the Révész oeuvre is just an example, he is not a better or worse documented artist than the average, it has simply become relevant beacuse his tragically sudden death closed the possibility of communication with him making it impossible to answer any further, potentially crucial questions.
+In the following, we will use three examples to describe the shortcomings and pitfalls of the documentation methods in C<sup>3</sup>'s archives, as well as those characteristic of Hungary in the 1990s with regard to new media art. Please note that Révész's oeuvre is only one example, he is not a better or worse documented artist than the average, it has only become relevant because his tragically sudden death closed the possibility of communication with him, making it impossible to answer any further, potentially crucial questions.
 === The Triumphal Arch (Diadalív) ===