Photomontage using combination print. The composition is made through repeated imprinting of one or more negatives on an appropriately masked paper. Zofia Kulik’s collages are complex visual texts. Each carries a message that has been carefully devised and executed.

This is an amateur photograph in which an important historical event has been captured. It was made by an unknown author on 3 May 1919 in Kraków.
On the Market Square, the infantry is in the foreground; next, the artillery — set in a double row, back to the photographer. Sukiennice [The Cloth Hall] was decorated with flags and the Polish emblem. Many groups of civilians stand under them. A field mass is taking place, organised by artillery and cavalry. Under the arcades of the central part of the Cloth Hall, on the side of Szewska street, an altar was organised which was decorated with flowers and emblems of national colours. From the side of the town hall there are Kraków units represented by the 13^th Infantry Regiment with an orchestra, 20^th Infantry Regiment of the Kraków Land and 8^th Uhlan Regiment.

The artistic creativity of Andreas M. Kaufmann has evolved around such concepts as space, time, and the public sphere. It is manifested through a variety of means (both analogue and digital) and forms; the artist is particularly fond of using projection. The increasingly strong mutual penetration of the artistic sphere and technology has led the artist to undertaking reflections on the civilizational context in which current art functions.

The photograph was taken either in 1942 or 1943, in the times of the Kraków ghetto in Podgórze. It presents Tadeusz Pankiewicz accompanied by his employees: Helena Krywaniuk (in the background), Aurelia Danek (in the middle) and Irena Droździkowska. Contrary to their superior, the women did not stay in the ghetto at night.

The series of photographs is a record of one of numerous actions that the two artists carried out in their own flat. It took place in August 1975, with the participation of Przemysław Kwiek’s sister Zofia Kulik and the artists’ son – Maksymilian Dobromierz. A cardboard tube was the centre of the action. It had been made to order as an advertising prop; after the action it went to the client.

The photograph taken by Henryk Hermanowicz (1912—1992) gives a perfect example of the then propaganda, in which those who were smarter could see the criticism of the authorities who decided to build industrial facilities on perfectly arable soil. It is also a kind of document of how our approach to the environment has changed.
It should be remembered that until the 1970s there was no environmental awareness, even in the West.

Karol Radziszewski’s work consists of six photographs and a drawing made on their basis. The cycle is considered a preparatory study for the mural, which was to be created in 2009 at the Mur Sztuki Gallery, located in the Museum of the Warsaw Uprising. However, the work did not come to fruition, because it was considered too erotic and detrimental to the feelings of the museum’s public.