The history of Polish contemporary art would not be complete without mentioning Natalia LL. The artist is the precursor of feminist art in Poland. She joined the international current about 1975. In 1978, she organized the first Polish exhibition of the artists who identified themselves with the movement. It was at that time that she also clearly defined her individual approach. Today, she is widely known mainly for her photographs taken at the beginning of the 1970s, in which she documented young girls consuming popular groceries which evoked erotic associations. That photograph series continues to elicit emotions. The best example of that could be the recent (April 2019) decision to remove “Consumer Art” from the permanent exhibition in the National Museum in Warsaw. The decision was strongly opposed by the artistic circles and led to a spontaneous performance on the courtyard of the institution, during which the gathered audience ate bananas, like the girl portrayed in the photographs. “Consumer Art” and “Post-Consumer Art” were created between 1972 and 1975, They are collections of black and white and color photographs and films. The heroines of those works were women consuming bananas, jellies, or sausages. By presenting consumption, the subject matter of the series, the artist showed the transformation of an activity in various contexts. Simple actions, like eating a banana, change into refined erotic acts. Natalia LL’s consistent use of the selected form (portraying models during consumption) changes the photographed gestures into a series of signs which build a code. The portrayal of the actions is also almost physiological, which contrasts with the attractiveness of the carefully processed, high-quality shiny prints. The striking effect is enhanced by the choice of the models. They are young women of delicate beauty reminiscent of idealized, innocent doll faces. In 2015, the artist wrote: “In the 1970s, I wrote that I would register ordinary things, people’s everyday actions, like eating or speaking. I had a series of mouths saying words. Sometimes I wrote the word, and sometimes I hid it and I still do not want to reveal the hidden word. I also photographed sitting, sleeping (there was the ‘Dreaming’ work), jumping, touching (‘Points of Support’). I was an antenna which touched the cosmic space. All those actions were everyday activities. Consumption stood out. The model girls consumed, and I photographed that. I registered consumption which, all of a sudden, turned out to be incredibly erotic. They ate in such an erotic way. And Western critics said and wrote that it was critical art which showed that we had nothing in the Polish People’s Republic, that we lacked those sausages and bananas. It was critical art which exposed communist Poland.” The comparison of the ‘cold’ film registration and the ‘hot’ sensual motifs subverts the analytical nature of conceptual art. In the 1960s and 1970s the artist was one of the first Polish critics of conceptualism. She viewed is as too rational and devoid of sensuality. Natalia LL also refers to the popular iconography which often connects consumption with erotic motifs. However, the artist’s attitude toward consumption and the shaping of the image of the woman in culture has been interpreted in different ways. Piotr Piotrowski noted that in the 1970s, when the mass culture of the Polish People’s Republic was quite Puritan, and the products consumed by the model were not easily available, the work could have been interpreted, perversely, as an encouragement to consume. Agata Jakubowska, on the other hand, emphasized the active role of the presented model, which contrasted with the image of women as ‘erotic objects’, associated with mass culture. The stereotypical dominance of one sex over the other has been reversed here, with the woman assuming an active role, and masculinity reduced to objects with phallic shapes.