The turn of the sixties and the seventies brought radical changes to secular photography. As it increasingly entered museums and became the subject of theoretical investigation at universities, as it became an asset in the arts market, it also began to differentiate giving precedence to the subjective and creative approach to the medium and its conceptual nature over the documented verism of recorded reality. A new photographic truth instead of objective mimesis of appearance was the challenge embraced by many authors aware that photography was able to express their ideas and phantoms far better than the reality surrounding them.