The Archive of the Galeria Adres has not been preserved in its entirety. My analysis is, therefore, based on a close examination of the remaining fragmentary material, which includes correspondence, mail art, books, catalogues, brochures, posters, experimental film scores, and notes. I also refer to art historical texts and especially to Dorota Monkiewicz’s essay published in 2015 (“On the International Artistic Exchange Network in Poland as Illustrated by the Example of Łódź’s Adres Gallery,” in Nothing Stops the Idea of Art, ed. Maria Morzuch, exh.cat. [Łódź: Muzeum Sztuki, 2015], 56–67), which constitutes the first attempt to historize the Galeria Adres’s activities. My knowledge of the gallery’s activities was also enriched by a series of interviews with Ewa Partum, Marek Żychski and other participants of the gallery activities, that I conducted during my doctoral dissertation’s research over the past 5 years.