Attempting to inquire into a specific historical instance of enthusiasm opens the investigation to the vagaries of enthusiasm itself, which spreads instability at the very heart of discourse. Artists Marysia Lewandowska and Neil Cummings take up, or rather embrace this risk in 'Enthusiasts,' an exhibition curated by Łukasz Ronduda for the Centre for Contemporary Art, Warsaw. The problematic of overlapping and competing histories has preoccupied Lewandowska and Cummings since the beginning of their artistic partnership ten years ago.

Legend has it that this fall's exhibit at the Center for Contemporary Art/Ujazdowski Castle is to be the last time Gerhard Richter's Atlas will travel outside its permanent home in Munich. Atlas, an artwork that purports to also be a collapsible exhibition, is going to become an artwork that no longer travels; put otherwise, an exhibit that never closes. For work that is not "site-specific" or physically attached, or for a permanent exhibit that is not just an institutional collection, that is rare indeed.

Sculpture is a genre that wants to be forgiven. For its concrete three-dimensional nature and its physical occupation of space, on account of which it can't play on the multiplication of styles and the repetition of forms. Krzysztof M. Bednarski has felt this problem dramatically and has realized a collection of works capable of highlighting more the irrepeatable identity of a work than the subjectivity of its author.

Bednarski's sculpture is figurative, aimed at representing the river, the drawbridge.