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For many years after 1949 Chinese photography served mainly as a tool for political propaganda. The subjects of early documentary photography were a phenomenon that would not have any official existence for many years to come. The photographers conducted lengthy and extensive research and interviews to shine a light into the oldest and darkest corners of Chinese society. Thus this form of photography could not be acknowledged by authority. Xie Hailong's "Hope Project" drew people's attention to the needs of tens of thousands of children living in poor areas and gained unanimous acceptance. No one should criticize documentary photography for its political flaws. This work protected and promoted the development of documentary photography in China to a significant extent. (Curator: Zeng Huang)