EXCERPT
Perhaps one of the reasons the PPPA is as large as it is owes to its founder, Dan Walsh, identifying and incorporating bodies of posters as well as single or random items. For example the PPPA hosts Palestine posters in private collections such as the Steve Wachlin Collection (351); national libraries such as the Library of Congress Collection (87) ; major exhibits such as Palestine: A Homeland Denied (73) as well as those in museums such as that of the Palestinian Museum (73) and outlaw/radical/street actions such as the Double Erasure Exhibit (51), among many others.
This approach can leverage an exhibit or collection that would only have been seen for a brief moment by a local audience into global, long-term visibility. It also helps contextualize the content, artists, publishers, sponsors and importantly, critics of the exhibit/collection. Presenting every work available also obviates any criticism that PPPA is censoring or editing works or collections for political advantage. Another benefit of identifying and including entire exhibits/collections is that this approach allows art historians, researchers, journalists, students and others to see every single work that was presented in the exhibit and to come to their own conclusions about the theme(s), artists, timing and effect of the exhibit, if any.
Source:
https://archive-stories.com/The-Palestine-Poster-Project-Archives