Since the ’70s, Izabella Gustowska has played a leading role in the conceptually inclined Polish art concerned with the body and the feminist critique of representation. Comprising eight multimedia installations (she calls them “self-operating audio-visual objects”) from 1998-2001, her recent exhibition “Passions and Other Cases” blurred the boundaries between visible and invisible, solid and fragile, opaque and transparent, sensual and sexual. With video projections displayed orispecifically fabricated objects, with video monitors incorporated into elaborate constructions. several of them