Blurring the boundaries between art and life, Marcel Duchamp, famous for moving the urinal to the art gallery and titling it „Fountain” was also thinking of a return gesture, reciprocal (le ready-made réciproque), postulating „the use of Rembrandt as an ironing board.” Ida Karkoszka creates formal masterpieces not for aesthetic purposes but to use them as a tool to change habits. The matter in which Ida Karkoszka sculpts is not exclusively acrylic resin, fabric, or aluminum. The artist primarily, first of all, transforms thinking patterns.

The title of the exhibition sounds like an invitation to watch the sculptures, but they are the ones to watch and judge. Role reversal is one of the artistic means used by Ida Karkoszka to revitalize feeling and thinking in a world suffering from a crisis of empathy and imagination. The roles of the work and the environment also seem to be reversed. Modern exhibitions have developed a streamlined, minimalist interior, the ideal embodiment of which is the white cube, allowing uninterrupted exposure of the artwork form and full resonance of its meanings. Ida Karkoszka's white, noble, silent sculptures direct the eye to the environment, its forms, and its senses.

A pig, a raven, and a rat look down from the roof of an iconic skyscraper at the sprawling skyline around Warsaw's business and transportation center, while photos of debris counterpoint the prestigious interiors of Warsaw's Marriott Hotel. The building was completed in 1989, and it quickly became the backdrop of a new social landscape, an eruption of wealth that filled deficits and promised a future based on notions of success, progress, and growth without asking about the hidden costs. Although the exhibition takes place without words, it is an eloquent commentary. Despite the lack of human figures, it is a profoundly humanistic work, a collective portrait of man, his creative possibilities, and the destructive potential of its creations.