After Ion Raţiu’s death in 2000, the family decided to donate his personal library, including Viorel Virgil Tilea’s library, which Raţiu had previously inherited, to BCU Cluj-Napoca. In the period from 2006 to 2008, the books gradually came into the custody of BCU and were registered. On 5 June 2009, the Raţiu–Tilea reading room at BCU Cluj-Napoca, which became the repository space for the collection, was opened to the public in the presence of members of the Raţiu family. The festivity marked thirty years since the opening of the Raţiu Foundation in London. In his speech, Nicolae Raţiu, the son of Ion Raţiu, emphasised the symbolic component of the transfer of the collection to BCU Cluj-Napoca, the place where his father gave his first speech about democracy in Romania in January 1990. During this festive opening, the members of the Raţiu family gave the donation deed to Professor Doru Radosav, the head of BCU Cluj-Napoca.

The event was organised by Braşov Art Museum for the 125^th anniversary of the birth of the artist. On this occasion the museum displayed sixty–four works of art (sculptures, paintings, and graphic works) created by Mattis-Teutsch, gathered from several Romanian museums (the Brukenthal National Museum Sibiu, the Székely National Museum in Sfântu Gheorghe, the Criş Country Museum in Oradea, and the Arad Museum Complex) and various private collections. The exhibition illustrated the artistic evolution of Hans Mattis-Teutsch in the period from 1910 to 1939 by emphasising his connections with the artistic avant-garde movements in Europe. Special attention was paid to his collaborations with the Hungarian avant-garde movement associated with the magazine Ma, the Romanian avant-garde movements of Contimporanul and Integral, and German Der Sturm.

Herta Müller’s book Cristina und ihre Attrappe oder Was (nicht) in den Akten der Securitate steht (Cristina and her dummy: What is (not) written in the Securitate’s files) was published in 2009. The book contains her thoughts regarding the informative file that the Securitate created against her name in 1983. “Cristina,” as Herta Müller was code-named by the Securitate, came to the unwanted attention of Romanian secret police because her literary works allegedly distorted “the social-economic realities (…) especially in rural areas” and misrepresented and sometimes openly mocked the local state and Party authorities. After introducing the foreign reader to the legal and political constraints that for ten years prevented her from reading the file created on her by the Romanian secret police, Herta Müller underlines that the documents included in her three-volume informative file do not capture all the facets of the surveillance organised by the Securitate against her. Moreover, some of the abuses committed against her by its officials, such as bullying, beatings, or home violations are not even mentioned in her file. Using as a starting point the content of her informative file, Herta Müller engages in a discussion at length about the persecutions she was subjected to by the Securitate and how these episodes were reflected or not even mentioned in the documents it created. She describes how her problems with the Romanian secret police began at the end of the 1970s when, while working as a German-language translator at a factory in Timișoara, she turned down the Securitate’s proposal to become its informer. As a result of her refusal she was fired and the Romanian secret police continued to harass her and prevented her from finding a job. None of these events left traces in her file. Herta Müller also approaches the topic of her direct surveillance by the Securitate prior to and after the publication of her first book Niederungen (Nadirs) at a publishing house in West Berlin in 1984 and how the Securitate supplemented their physical abuse against her with psychological abuse. Again she underlines the fact that the documents in her informative file mention none of these episodes. Also omitted from her Securitate file are other events that could be used as incriminating evidence against Securitate officials, such as the beating of a German journalist who tried but failed to visit her, the death of one of her close friends, the organisation of their surveillance of her while she was abroad, etc. Herta Müller also expresses her anger at the Securitate’s violation of her private life through the installation of microphones in her house (even in the bedroom) and her mixed feelings about the recruitment of some of her friends as sources and informers of the Romanian secret police.

The founder and member of one of the most well-known Romanian rock bands, Phoenix, Nicolae (Nicu) Covaci granted a video-recorded interview to the researchers of the Centre of Oral History at the CNSAS (Romanian acronym for the National Council for the Study of the Securitate Archives) on 5 May 2009. The interview was recorded after Covaci read the personal file about him created by the former Romanian secret police, the Securitate, and expressed his discontent regarding its content, which covered only parts of the artistic life of the band. The interview follows a semi-structured format and falls into the category of life-story interviews. Nicu Covaci spoke about his early life in Timișoara, his educational background, his family and friends, how he became interested in music, and the beginnings of his band Sfinții (The Saints), later renamed Phoenix. Special attention was given to his relations with the communist authorities, especially the Securitate and the communist Militia, given his public profile and non-conformist stance as the leader of Phoenix. Consequently, Nicu Covaci spoke about how surveillance by the Securitate and Militia intensified as the band gained popularity among young people and how he and other members of Phoenix felt their presence during concerts, and he underlined the fact that authorities feared that their concerts might trigger young people’s revolt against the communist regime. Regarding this last aspect, he spoke about the influence Phoenix had on Romanian teenagers and how they filled the concert halls and stadiums where the band played. Moreover, Nicu Covaci described how Phoenix concerts were used by the same young Romanians to carve out a space for personal freedom and self-expression through nonconformist dressing style and behaviour, and especially through singing lyrics that contained hidden messages against the communist regime and its restrictive policies regarding the consumption of Western music. Censorship was another subject of the interview and the leader of Phoenix remembered their complicated relations with it. Sometimes they managed to trick the censors by coating the anti-regime messages of their lyrics in figures of speech, but in other instances, some of Phoenix’s songs could not be included on their albums. The non-conformist stances of Nicu Covaci also brought him into direct conflict with the authorities, as he refused publicly to became a member of the Romanian Communist Party and play an obedient role in relation to the communist authorities. The frequent harassment he was subjected to by the Militia and the Securitate influenced his decision to emigrate in 1976. After the earthquake of 4 March 1977, Nicu Covaci returned to Romania to participate in a fundraising concert for the numerous victims of the natural disaster that had devastated the southern part of the country. In fact, he took advantage of his return home to help the other members of the Phoenix to flee the country. In his interview, Covaci recounts in great details the movie-like story of how he helped the rest of the Phoenix band to get out of the country illegally, hidden in huge loudspeakers.

The Museum of Contemporary Art moved to its new premises in 2009. The new Museum was opened on December 9, and with its opening the Museum also presented its permanent display. The permanent display carries the name Collections in Motion, and it also includes a photograph of the performances from Braco Dimitrijević’s cycle “Casual Passer-by’’ performed on Marshal Tito Square (today's Republic of Croatia Square) in Zagreb in 1971, as well as a poster used in the performance. As a part of the Museum’s permanent exhibition, "Casual Passer-by" is available daily to a wide audience, especially to organized visits by schoolchildren.

The book An Introduction to the Past (Uvod u prošlost) is published only in Serbian/Croatian, while the intent is also to publish an English version. A lengthy 22-hour interview with Želimir Žilnik was recorded; Boris Buden took excerpts from it and used them as “initial triggers” for his essays, creating a pseudo-dialogue and extending it with his analysis. Kuda.org regards Buden as an important partner.The table of content translates as follows: Preface                                                                                                                 7The Past and How to Acquire It                                                                               16Into the Healthy Brain                                                                                           35At the Cemetery of Dead Words (Fragments)                                                           52UDBA (From Off)                                                                                                  56Censorship (Cutting Cadres)                                                                                  68Stalinism                                                                                                           103Tito (Dictator?)                                                                                                   112JNA                                                                                                                   133The Star is Born: Brief Note on the Phenomenon of Cultural Initiation                       144Entering into the Sphere of Cultural Production in the Period of the Late Titoism        154Yugoslav Idol: Return to the Present in Three Images                                            176Shoot it Black! What is Black in the “Black Wave”?                                                  202Instead of the Epilogue: Revolution – A Marble Ass of History                                  213