Csilla Babinszky is a Munkácsy Prize-winning artist whose exhibition presents a characteristic arc, following the path of each room. Her work is characterised by a play with illusion, a deception of the eye, a metaphor for the difference between reality and illusion.

Throughout the exhibition, the semblance, the desire and necessity to appear to be something, the simulacrum, plays an important role. One of the most important keywords in the exhibition is image in its original sense, which is the set of beliefs, ideas and impressions that an individual possesses about anything (object, person, group, etc.). The image "resides" in the mind as a certain mirror or reflection and representation of experience. But it is all about the artist's search for her place: what is seen, the question of self-definition, the artist's place, role, the question of brand, and a critique of the art establishment also appears.

The exhibition begins and ends with a glass installation entitled Rokoko, which both welcomes and bids farewell to the viewer. The glasses placed horizontally on the wall form a huge glass, part of which is filled with red wine, but because of its position cannot be taken away or drunk.

The first room reflects on the inability of society to engage in dialogue, but the inevitable need for it (Seki). From here, she turns to the field of illusion: the deception of the eye is the most prevalent in this section, illustrating how ambivalent our relationship to reality is. The relationship between the image and its counterpart, or more precisely its simulacrum, is one of the most analysed questions in art history. (Still Life, Re-recycling) The next section is looking for the answer to what extent the person, the creator is defined by appearances, and more specifically by the brand, the way in which clothing expresses or hides personality. It must be constant to be identifiable, but changeable to remain fashionable. (You Need a Brand I-III, Strip)

From external definition the next section moves into personal territory. Here again the emphasis is on hiding and showing up, but in a different way. (I Love You, Personal Time I-II) Both series are moreover a strange meeting of the mediums of photography, painting, drawing, doodling, notebook, the inward-looking self. In the last room the ambivalence of hiding and revealing continues, but the focus here is on the position of the artist and seeks the answer to the validity of the artistic way of life. (Self-Sabotage I-II, Anything is Possible, etc.)