To say of Kantor that he is among Poland's most outstanding artists of the second half of the twentieth century is to say very little. Kantor is to Polish art what Joseph Beuys was to German art, what Andy Warhol was to American art. He created a unique strain of theatre, was an active participant in the revolutions of the neo-avant-garde, a highly original theoretician, an innovator strongly grounded in tradition, an anti-painterly painter, a happener-heretic, and an ironic conceptualist. These are only a few of his many incarnations. Apart from that, Kantor was an untiring animator of artistic life in post-war Poland, one could even say, one of its chief motivating forces. His greatness derives not so much from his oeuvre, as from Kantor himself in his entirety, as a kind of Gesamtkunstwerk that consists of his art, his theory, and his life.