Czwartos’ pseudohistorical paintings were to be Poland’s official Biennale entry until a change of government last winter thew them on art history’s scrap heap. That they now hang in a pop-up outside the Giardini walls proves that the deposed populists care as little for art as the liberals who again control Poland’s art scene.

These images claim to tease the nation’s sore historical blind spots. Czwartos’ canvases laud Poland’s 20th-century martyrs in a bleak colour palette. Leaders of the national armed resistance who perished in the Nazi occupation and anti-communist activists killed by their own state peer from the walls like paper props in a school re-enactment.

Litigating old crimes is on point in this Biennale. Why, then, were these well-known stories disqualified from the decolonial orgy? Czwartos stepped too far by shaming the abusers in his historical diorama. Next to a named SS soldier, he painted Putin and Merkel, thus suggesting that this history is also the very present. He may not be wrong. His painting, however, proves little, and his sign-writer’s hand loses art history’s bet just for now.