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Béla Lipták was a permanent volunteer for the CHRR, and he served as manager of accounting of donations in the early years of the organization. He was born in 1936 in Budapest and was also a refugee in 1956. After he fled to the United States, he graduated from the Stevens Institute of Technology. He earned a second degree in Thermodynamics and Computer studies. Until 1975, he was the chief engineer of an Automation and Remote control division, and he founded his own company.

Piotr Lisowski (1982) is a curator, an art historian, and an initiator and co-organizer of the Jerzy Ludwiński Archive at the Wroclaw Contemporary Museum. He was born in Kielce, studied art history at the Faculty of Humanities at the Nicolaus Copernicus University in Torun. He also completed a post-diploma programme in Curatorial Studies at the Jagiellonian University in Krakow. Since 2007 he worked as a curator in the Centre of Contemporary Art (CoCA) in Toruń and since 2016 he works in theWroclaw Contemporary Museum. He co-created a private Love Gallery (pl. Miłość), which operated between 2014-2017 in Torun.

In 2011, Lisowski curated an exhibition entitled „Filling the blanks” (pl. Wypełniając puste pola) in the CoCA devoted to Jerzy Ludwiński – a historian, theoretician, art critic, whose ideas greatly influenced the Polish neo-avant-garde of the 1960s and the 1970s. The exhibition was based on the archival materials, which allowed the audience to follow Ludwiński’s critical and curatorial practices, and strategies. As a basis of the exhibition served two facts: the Current Art Museum program, proclaimed by Ludwiński in 1966, and the 8^th Artists’ and Art Theoreticians’ Symposium in Osieki in 1970 – an event during which Ludwiński gave his famous speech on post-artistic epoch.

The exhibition in Torun succeeded in reminding of Ludwiński and his ideas. Soon after the event, Lisowski started to work on a concept of the Ludwiński Archive which found its place in the newly-built Contemporary Museum in Wroclaw. Works on the Archive had been conducted between 2012-2013, however Lisowski was hired by the MMW yet in late 2016. As a curator (e.g. in CoCA in Torun, Wroclaw Contemporary Museum) Lisowski organised numerous exhibitions concerning the art of the 1970s and the 1980s, including i.e. the Zero-61 group, Jacek Kryszkowski, the Exchange Gallery or the Wroclaw independent music scene.

Olena Oleksandrivna Lodzynska is the main curator of the Sixtiers Museum in Kyiv. She is a historian, born in 1962, thus she remembers the general political and social climate in which the sixtiers were operating. She was herself involved in oppositionist activity, partly due to a run in with the Soviet authorities in 1982. Both she and her husband were dismissed from university; he for conduct unbecoming a Soviet student (code then for “nationalism”) and she for being married to him. He was implicated in the involvement in an underground organization, uncovered by the state security services. Lodzynska noted that this, in principle, amounted to a group of students getting together informally to discuss interesting topics, nothing more than that. Nonetheless, he was only able to complete his degree after independence. Lodzynska was able to return to her studies after one year, as an official reprimand for political infractions was never written about her. They became members of RUKH—organized first as a civic-political organization called the People's Movement of Ukraine for Reconstruction during Mikhail Gorbachev’s perestroika—and then registered as a political party in 1990, to participate in the first semi-competitive elections held in the Soviet Union. When asked about her relationship to the Soviet regime, Lodzynska responded that it was negative, and that to expound beyond that would take us on a very long detour.