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Srbinović, is another artist who in our history of modernism has obviously been left aside and who has lived completely withdrawn and separated from the public.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, and abandoned silent cities or walls appear as one of the motifs. The work “Fortress” represents it in an exceptional way.