field of the conceptualization, exhibition, and publication of photographic projects. His proposals continue to stimulate the work of young artists, in particular those who develop their investigation in the sphere of subcultures. This, in spite of the fact that the modes of exhibition practiced by Trillo and here recuperated did not have continuity in a system that, during the 1980s and 1990s, demanded of photography certain renunciations—limited editions, forms of representation similar to that of paintings and prints, etc.—in exchange for a visa identifying it as an artistic medium with full rights. The exhibitions at Ovidio and Amadís were hardly noticed by the art criticism of the time, little interested in photography. For his part, Trillo continued to experiment with formats and support mediums that had always been related with photography—postcards, stamps—although they were rarely accepted as art. But that is another story.
Los jóvenes vistos por los jóvenes. Certamen Nacional de Fotografía, Instituto de la Juventud, Ministerio de Cultura, Madrid, 1985
MIGUEL TRILLO IN THE PHOTOGRAPHIC CULTURE OF MADRID, 1976-1985
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