The thematic focus of the thesis is the analysis of the photography magazine SPOT, which was published by the Zagreb City Gallery from 1972 to 1978 in a total of eleven issues. It is a unique example of a professional magazine in the national context of the second half of the 20th century dedicated to contemporary tendencies within a specific area of artistic creation. It was started by the art historian and editor-in-chief Radoslav Putar, and it appears symptomatic of the radical changes that were initiated in the late 1960s on the artistic and social level. The introductory part of the paper provides a concise overview of the post-war circumstances in the context of art and photography that preceded the launch of SPOT. Then, conceptual art is defined within the theoretical framework, which directly influenced the dissemination of the photographic image, expanded its interpretive field and form possibilities. Editorial conceptions and program objectives are determined, which were aimed at the development of visual literacy and the establishment of an efficient communication channel through contemporary photography. SPOT generated the initiative for the New Photography exhibition and functioned as a platform for presenting research and experiment based photographic practices. The expansion of influence beyond regional frameworks was realized through collaboration with foreign experts and representation of international photography circles. The aim of the paper is to map the magazine's six-year activity, to contextualize it in national and international frameworks, and through form and content analysis to valorize its significance and role in redefining the generally accepted conventions of standard photographic production. By gathering established authors and affirming conceptually oriented works, SPOT became an extremely relevant place for the exchange of progressive photographic thought within the art criticism of the 1970s.