When the opportunity arose to exhibit the work of renowned British sculptor Henry Moore at Zappeio more than 70 years ago, the public’s conservatism and composure were put to the test – as they are in many cases today. For many, the conservatives of good Athenian society, Henry Moore’s sculptures were, at best, incomprehensible misprints; for a much smaller number and aware of post-war art trends, the exhibition was a hopeless gift. Henry Moore’s defender against the “provincial” isolation of the Athenians was the technical critic of “Kathimerini” Angelos Prokopiou with his exceptionally competent and courageous articles.

This old story, but always relevant and indicative of the path passed by Greek society, came to life in one of the chapters of the classic autobiographical book by Nikos Dimos “From Michael Voda to Syros” (published by Nefeli). He also went (as a teenager at the time) with his friends to Zappeion to see an exhibition. “We laughed a lot. We fully agreed that the guy works for us. In addition, this explanation was relevant for the crooked faces of Picasso.” Nikos Dimu writes about the ironic comments in the newspapers. they wrote, and others like him.” However, on Sunday, “lightning.” He reads in “Kathimerini” a full-page leaflet of Angelos Procopius – a hymn to Henry Moore. “I was in a very difficult position. I admired Procopius and reverently read his technical reviews and pamphlets. Well, Moore played a joke on us, and Procopius too? (…) I was shocked. I returned to the exhibition alone, carrying a brochure with me and trying to see each work through the eyes of Procopius. I felt a big gate open.”

Angelos Prokopiou previewed Moore’s catalog and listened to it on the train. He was forced to write the excellent Apology of an Accomplice. Published in Kathimerini March 13, 1951 A summary of the deepest problem that exists to this day in Greece.