Was there place for sensual expression in conceptual art? Leaving the gallery for city streets, burning large format photographs in public and persisting in asking difficult questions – these were but a few of the means used by Witold Liszkowski. Having been drawn into avant-garde structures, the artist kept on making further micro-assaults on art, which was undergoing a radical transformation in the early 1980s. Did he manage to answer the questions that were pestering him by performing his subsequent acts of rebellious sabotage?