‘I was able to achieve a successful disruption of the canon of visual representation of Roma with the selection of Nihad Nino Pušija’s photographic works. I invited him to the exhibition with a small collection of non-typical “gypsy” photographs. My aim was simply not to repeat the images expected from the “ethno-industry” in order to point out a very important aspect: In order to legitimize themselves as artists, Romami artists do not have to create “gypsy-typical” works. I go even further: the versatility of the photographic motifs in Pušija’s work (see also the catalogue text by Dr. Sibylle Badstübner-Gröger) refers much more “honestly” to the complexity of ethnicized determinations of identity or to national affiliations and simultaneous hybridities - in Pušija’s case to ex-Yugoslavian and German culture - than is the case in “conventional” illustrations of Roma.’