n her paintings, Radžiūnaitė talks about foolishness, ignorance and/or error in the change in cultural meanings over the course of history. This creative strategy as a conscious state of foolishness frees the artist from the need to know the true or historical meanings of the images or the circumstances of their formation. Radžiūnaitė raises questions about the possibility of reconstructing the Middle Ages and the limitations of such possibility determined by historical circumstances. Past, present, and future are difficult to measure and understand objectively, while cultural continuity and the influence of past epochs on contemporaneity can be deconstructed ironically. Radžiūnaitė’s paintings are full of Christian iconography, symbols and stories which are usually purposely mistaken and represented in a way that is more useful or relevant to the present. According to the author, people create an environment in which they can manipulate or comfortably rely on ignorance and unawareness. In this way, she creates new meanings and contexts while also raising the question of memory as a political, cultural or religious tool.