en.wikipedia.org/wiki/Futurism

A scholarly study devoted specifically to women artists at the Venice Biennale documents female participation from 1895 onward, not beginning with Benedetta Cappa.

The study’s graphs list women exhibitors already in the earliest editions: 9 women in 1895, 19 in 1897, and 30 in 1899. That directly contradicts the claim that Benedetta was the first woman to have art displayed there.

So this sentence confuses Benedetta’s significance with something else; whatever distinction she held, she was not the first woman to exhibit art at the Venice Biennale.

Multiple museum sources explicitly identify Anton Giulio Bragaglia as a photographer.

• MoMA describes him as “the intellectual leader of Italian Futurist photography” and states that “he made his photographs in collaboration with his younger brother Arturo Bragaglia.”
• The Metropolitan Museum of Art lists Anton Giulio Bragaglia as the artist of photographic works and notes that in Futurist Photodynamism he extended Futurist ideas to photography.

So while Bragaglia was certainly a theorist of photodynamism, calling him “not a photographer” is flatly wrong.

This claim conflates RAPP with LEF/Novyi LEF.

• RAPP (the Russian Association of Proletarian Writers) was a separate Soviet literary organization that Encyclopedia.com describes as being better known for its persecution of other writers and for using its power against writers and critics who did not follow its line.
• By contrast, the phrase “Literature of Fact” is tied to the LEF / Novyi LEF circle. A scholarly source identifies The Literature of Fact as “The First Anthology of Documents by the Workers of LEF.” Another source describes the writers around Novyi LEF as the ones who advocated what they called a “literature of fact.”

So the article’s sentence is wrong on the core identification: RAPP was not the Futurist group associated with “Literature of Fact.” That idea belonged to the LEF/Novyi LEF orbit, and the phrase has nothing to do with “literacy evolution.”