Ksenija Divjak (1924–1995), a contemporary and friend of Mirjana Mihać Srbinović, is another artist who in our history of modernism has obviously been left aside and who has lived completely withdrawn and separated from the public. That attitude was also radical, because she rejected any public dignity and verification of her work: “I rejected the idea of becoming a professor at the Academy of Fine Arts. I also rejected the proposal to be a candidate for the Serbian Academy of Sciences and Arts. I refused to have a retrospective exhibition at the Museum of Contemporary Art, giving them a written explanation.” In her personal exile, she worked tirelessly and traveled. Her passion for Spain, Mediterranean heritage, culture and travel, which lasted for more than two decades, will mark her entire life and work. All twenty works from the Legacy of Olivera Radojković Čolović have a recognizable iconosphere: they depict an imaginary image of Spain and the Mediterranean. The work “Lorca’s Gypsy” is one of the exemplary examples of achievements related to Spain and its culture. Mladen Srbinović, with whom she shared the studio for a while, wrote: “You deserved your personal museum – bathed in light.” Thanks to Olivera Radojković Čolović, she left us a kind of such museum for safekeeping.