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The starting point of the exhibition After Apartheid: 10 South African Documentary Photographers (Fig. 1)1 was Paul Weinberg's expression of the concern felt by his generation of documentary photographers about the unbanning of the African National Congress (ANC) and other political organizations. While, politically and personally, they obviously welcomed this event as the culmination of the struggle with which they had identified, nevertheless, as professional photographers, they recognized that these changes would have profound effects on their future careers (Weinberg 1991).
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