In the two essays devoted to the Polish avant-garde, Dorota Jelewska and Anna R. Burzyńska argue that the heterarchical forms of the interwar and the postwar avant-gardes allow us to see these constellations both as destroying the existing topology of representation as well as constructing inter-reality in which art annexes real objects (Tadeusz Kantor), marginalized and broken objects are material witnesses to past and current events (Józef Szajna, Jerzy Bereś) and colour, sound and the body of the performers (Maria Pinińska-Bereś, Ewa Partum) replace transmission of logos, which had been central to Aristotelian poetics and aesthetics. While dealing with the history of the avant-garde, Jelewska notes that, despite significant accomplishment of women artists in Poland, it was not until the 1970s that women developed their space for action and expression. Burzyńska specifically explores an acoustic history of the Polish avant-garde, breaking with artistic conventions that have traditionally excluded sound interpreted as mere noise, and considers ways in which different voices have been assimilated by or have resisted nationalist discourse.