This project embraces masterpieces of five world known photographers united by their Hungarian descent. André Kertész, László Moholy-Nagy, Brassaï, Martin Munkácsi, Robert Kapa — these names are symbolic to the history of photography of the XX century. Each of these names indicates a unique style and unparalleled way in photography that served as example to and inspired many a follower including masters of global scale.

Initially, the exhibition was put together in the framework of scrupulous research that compares biographies of the five famous photographers in search for coincidence, mutual influence, details that make them common or different. Having united the five names in one project its authors aimed primarily at celebrating the contribution of Hungarian masters to world photography. Furthermore, the project invites to analyze the cultural, ethnic and historical context and its influence on an artist's life and work. This makes the project especally interesting as it renders to the viewer a specific a system of coordinates using which we can 'localize' a photograph not only in time and space but also within the system of values and interests of a certain epoche.

Photography appeared in the time when cultural borders already started to fade, and thus the ways it chooses are barely influenced by the nationality of photographer and to a great extent depend on the cultural context of the epoche. This latter determines a lot, from the initial choice of photography as occupation, to specifics of development of creative activity, to the selection of a place for life and work. All five photographers united by the exhibition left their native country to achieve recognition in the West, and their destinations were predictable: Berlin with its boom of journalism, Paris as the cultural capitol, USA as the place to escape from the nazis during the Second World War. Following the photographers' biographies, we find the ideas and ideology of the time reflected in their work as it prescribed it certain ways of development, depending on their individual talents and interests. In the case of Munkácsi, success was brought about by the special feeling of the right moment, responsiveness and adventurism which all together allowed him to make the sensational photographs so sought for by the audience in the time of press industrialisation. For Kertész, the important qualities were his exceptional sensitivity to human conditions so in tune with humanistic tendencies of the second half of XX century. In the case of Brassaï , it was his ability to comprehend and interpret the surrealistic in the mundane. As to Robert Kapa, the world dependent by mid-century on visual evidence, praised him as the greatest war photographer who coined the rule of being as close as possible to the events. The work of Moholy-Nagy lies within a different field. His research of photography as means of seeing and production should be considered within the context of the 1920s – 1930s idea of total mobilization for construction of the future and rebuilding of the society.

Among works presented in the exhibition are those that have special value in scope of the life work of each of the photographer. Such are the first photograph of Kertesz, Munkasci's debut fashion shot, Kapa's D-Day photographs nearly perished in laboratory. Without an attempt of a retrospective, the exhibition rather indicates what each of the five great Hungarians gave to world photography.