The title of Stańczak’s work refers to the idea of ‘perceptive background’ created by Oskar Hansen and connected with architecture and public space organized in line with the theory of Open Form. The project also makes some loose references to Katarzyna Kobro’s Spatial Composition No. 4 from 1929, as its visual qualities have been based on pure geometry, sending us back to avant-garde movements of the 20th century. Even though almost 100 years have passed, the original work has neither lost its relevance and modern character, nor ceased to be an alternative for current tendencies present in public space. Not only is Stańczak’s work intended to be watched, but it also invites the audience to come inside. Its integral and inseparable part become e.g. skaters, who break stability of an artistic form with real movement. This is how the work stays ‘alive’. Crash Background is designed to function as an utilitarian sculpture, open to interventions, standing in opposition to the omnipresent Closed Forms. It reminds us that art objects in public space do not have to be figurative statues marked by ideology and placed on inaccessible pedestals. And that is because abstraction may have a liberating power.