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Zanj je bil tudi zelo pomemben v zgodnjem obdobju uveljavljanja na Kranjskem, saj je že ob Prvi slovenski umetniški razstavi jasno sporočal dve pomembni stvari: da je mladi Jakopič vešč slikar sposoben izvesti veliko salonsko podobo in da se da tudi k tradicionalnemu žanru pristopiti na bolj sodoben način, kot so ga bili dotlej vajeni v Ljubljani.Ljubljanska in zagrebška kritika sta že tedaj dobro opazili ključne elemente in značilnosti slike – močno luč, ki prihaja v sliko izza hrbta portretiranca, razblinjenost obrisov, ki jo ta povzroča v sliki, močno barvitost le-te in svobodno, odprto potezo umetnika – in sta bili nad njimi in celoto večinoma navdušeni.

Eno je, da se s takšnimi posegi posredno upiramo interpretaciji opusa in umetniškega razvoja, kot ju je podal slikar sam.

Žerovc has conceived and organized a number of scholarly gatherings, including The Exhibition as an Artistic Medium, The Curator of Contemporary Art as Artist: The Changing Status of the Exhibition and the Curator in the Field of Contemporary Art (Igor Zabel Association, 2010) and The Event as a Privileged Medium in the Contemporary Art World (International Centre of Graphic Arts, Ljubljana, 2011,

In 2011, she curated the 29th Biennial of Graphic Arts in Ljubljana, titled The Event.

This article posits that in addition to their advocacy for the end of the war in Vietnam, the filmmakers used the crisis to critique domestic mass media and to model its alternative as a national, even patriotic, necessity.

In the past ten years her research has concentrated mainly on the phenomena of the contemporary art curator as a profession in the process of establishing itself and the contemporary art exhibition as a medium.

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