Teresa Tyszkiewicz is one of the most intriguing artists of the Polish avant-garde of the 1970s. Her primary medium was her own body, which is why her works are often associated with feminism. The artist was primarily interested in sensual experience, the realm of subjective sensations and impressions. After 1982 she began incorporating sewing pins into her paintings. Pin — Scripture (1988) is a large black canvas in five parts. Vertical stripes embedded with thousands of pins separate fields densely filled with the word ‘pin’, painted in different colours in five languages. Creating works with pins is a painful and laborious process. As the artist put it: ‘The pin, this poor object, became magical for me. The sting, the persistence and the desire to overcome it. The pin provokes me and gives me new ideas. Once tamed, it is gentle, but at work I fear it because it is dangerous and aggressive.’