Antoni Starczewski is one of the most interesting artists of the post-war period, an artist who developed compelling and unique artistic practices in a variety of media, namely ceramics, prints, textiles and in-situ projects. Regardless of the medium, Starczewski explored the issues of rhythm, difference in repetition and sign systems. He established his own structure of forms and translated them into rhythm-based artworks. Antoni Starczewski’s works have been part of many exhibitions and collections both in Poland and abroad, such as Biennale di Venezia; Tate Modern, Victoria and Albert Museum, London, UK;  Kupferstichkabinett, Dresden, Germany; Museum of Art, Łódź; Zachęta National Gallery of Art, Warsaw; Poland; Stedelijk Museum, Amsterdam, Netherlands; National Museums in Warsaw, Kraków and Wrocław; Museo Internazionale della Ceramiche, Faenza, Italy; Galleria degli Uffizi, Florence, Italy;  Musée d’Art Moderne de la Ville de Paris, Bibliothèque nationale de France; Musée d'Art et d'Histoire de Genève, Switzerland; Museum Boijmans van Beuingen, Rotterdam, and many others. 

Antoni Starczewski explored the fields of visual art, music, and language. One of the main directives of Starczewski’s work was a refusal to separate fine arts from decorative arts. His exploration of rhythms and development of sign systems led him to create so-called “visual scores,” regardless of the materials and techniques in which he worked.