“Women Live for Love,” announced the title to Teresa Gierzyńska’s exhibition, broadcasting an essentialist declaration in order to complicate it. Curator Joanna Kordjak offered a decidedly feminist take on Gierzyńska’s oeuvre, bringing together works from three series dating to the 1970s and ’80s consisting of photographs, photomontages, and press prints portraying women. At that time, the Warsaw-based artist was particularly interested in material experimentation, messing with mechanical reproducibility by tinting her black-and-white photographs with synthetic dyes or pressing images cut from