When relating the story of the Újlak Group, one is tempted to resort to a narrative of the “artists’ group” as creative laboratory, a narrative that is in large part responsible for their appeal in this Eastern European climate of uncertain relationships. The group itself, however, rejects any well-greased organizing principle, functioning more as a nonlinear commentary on communication. Their refusal to define themselves and their relationship to each other, and their infinitely renewable impulse toward definition is their raison d’être. As one of the artists put it, “We ape the experience of