In Polish art after 2000 there is much more interest in history, especially topics related to the Second World War, the Holocaust, Polish-German and Polis-Jewish relations, as well as history as modern as the times of the PRL and the libertarian impulse. Interest in Polish art history is not a new phenomenon. Post-war art was linked to the traumas of war. But in art after 2000 new events can be observed: the interest in concrete historical facts is less important than questioning history, how it is constructed, what it is for, how it is used, as well as how history mixes with narrative and how it works in our vision. According to Izabela Kowalczyk (Kowalczyk, 2008), this creative idea about the construction of historical facts and their use in today's reality can be defined as deistoricization (in analogy to the term deconstructuration). She argues that the art of deihistoricizing presents itself as a living discourse, which is taking place – paradoxically – now. As Jacques Derrida has indicated, the prefix de- can mean an appeal to genesis and not to destruction (Magliola, 1984:89), as in the case of the art of de-historicization and the process of building history itself. „The art of deihistoricizing makes history alive, recalling the ghosts of the past“ (Kowalczyk, 2008). The basis of this is what is happening now (work of art, exhibition) and the result of what happened are historical facts. This act of dehistoricization of art is in contrast to what dominated the Polish art scene in the early 1990s. Critical art focused on the study of the entanglement of the entity, the experience of corporal punishment, the problems of the other or the ubiquity of power in Michel Foucault's conception (Foucault, 2000). It is inscribing the nature of history between freedom and control, which... middle of paper... hybrid, mutant, intimately linked to life and death, time and eternity, wrapped in a Möbius strip of the collective and individual,...” (Nora, 1989:20). So I understand through this, that process of lieux de memoire, the fragments of the story are assigned to the post-memory of the author and the viewer. As Ewa Domańska indicates in individual memory, in collective memory, symbols, icons, cultural and historical themes that have been replicated and preserved in social consciousness, through its constant reproduction in encyclopedias, manuals, newspapers, films, etc. Precisely through those icons, which our society sees in the past, they are becoming markers of memory, and where they are recalled through our memory they immediately refer to concrete events (Domańska, 2006). Thus Spiegelman's personal memories of his father are no longer personal, but become collective.