Béton presents the exhibition "Photomontage. Corrected Truth", which explores the practices of montage in the art of photography. The method of artistic creation is the most effective in terms of demonstrating the difference between contingent reality and subjective realities, which provokes people to correct the "truth".

Among the many applied tools of "truth correction" photography and other "technical" means of expression play a special role. Long before the modern possibilities of computer post-processing, photographers were bringing some kind of correction to the conditionally truthful realities of their work, including through editing.

In Soviet times, the art of photography often became a tool of ideological confrontation. Through the selection of subjects, their staging and montage, it was possible to visualize the theses of ideological discourse in such a way that they looked convincing. The creative intelligentsia, on the other hand, sought to correct the Soviet "truth" which in its incarnation did not suit everyone.

Today, Soviet methods of propaganda and agitation simply pale in comparison to their successors, the democratic press, news television, and popular cinema. They themselves became objects of creative "correction" and such imaginative projects sought not only to break with the imposed distortions of reality, but also to create their own alternatives to it.

Contemporary artists also present their own model of reality.