Žarko Bašeski’s “Venus” is an impressive and manifold creation that shifts the boundaries of our understanding of sculpture. The work plays with the sculpting tradition and disrupts the established balance between the viewer and the sculpture. Now, it is the sculpture that looks at the viewer and prompts him to look at himself, to see himself from the sculpture’s perspective. The position of the viewer changes. The eye’s wish, “the eye’s appetite” (Lacan) leads him into the trap that the artist, like Dedalus, carefully builds for him.