The title of Marek Gardulski's exhibition, To see clearly in ecstasy, is taken from a literary essay on Proust by Jan Błoński.

The exhibition was conceived as a "poetic" installation composed of two-sided photographs of various formats and vintage mirrors hung and "intersecting" the gallery space. Mirrors, as fragments of photographic staffage, have been an integral part of Marek Gardulski's photographs since the 1970s and recur throughout his work. The exhibition continues with a selection of over seventy photographs from the 1970s, 1980s, 1990s, and 2000s, illustrating the artist's interests through series of studio views, self-portraits and nudes, erotic scenes, depictions of adolescent children and family, still lifes with mirrors, flowers, fruit, and other objects, impressions of the sea and sand, and industrial landscapes.

The photographs form a long frieze along the walls. It begins with one of the first Self-portraits from 1971, a record of an experiment with fire, and ends with another variant from 2011. Between these two, we see a series of photographs from various stages of the artist's life, with the leitmotif of a mirror running through them.