Balázs Eszter: Art in action. Lajos Kassák's Avant-Garde Journals from A Tett to Dokumentum, 1915-1927 - The avant-garde and its journals 3. (Budapest, 2017)

Gábor Dobó: Generation Change, Synthesis and a Programme for a New Society - Dokumentum in Budapest (1926-1927)

views.32 The Bethlen government saw the press as a powerful weapon for manipulating the public, and in the “state protection act” of 1921, limited the distribution of media products and regulated their appearance. In this atmosphere, writers were always at risk of prosecution for “political incitement”, “high treason” or “contempt for religion”.33 Many intellectuals became the objects of sanction in the interwar period, including the Dokumentum editorial staff members Kassák, Déry and Illyés.

[18.] Árpád Szélpál, Photo composition from Piros Nagy’s toy models, Dokumentum, 1/4., 1927, 32., Budapest

[19.] Árpád Szélpál, Portrait of Lajos Kassák next to Piros Nagy's toy models, Budapest, 1927, photograph, PIM-Kassák Museum, Budapest

32 See Merse Pál Szeredi, Budapest-Berlin-Budapest, Magyar művészek Berlinben az 1920-as években [Budapest-Berlin-Budapest, Hungarian artists in Berlin in the 1920s], in Merse Pál Sze- redi-Gábor Kaszás, Berlin-Budapest 1919-1933, Képzőművészeti kapcsolatok Berlin és Budapest között [Berlin-Budapest 1919-1933, Artistic contacts between Berlin and Budapest], Virág Judit Galéria, Budapest, 2016,11-147.

33 In more depth on press conditions in Hungary at the time, see Balázs Sipos, Sajtó és hatalom a Horthy-korszakban, op. cit.

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