When I viewed enigmatic Map Room I and Map Room II for the first time, I was not sure how should they be understood and in what context should they be considered. I decided that before starting the conservation process I would try to decipher their meaning and context. Mikołaj Smoczyński’s work involved an element of play with time, place and space, based on a deliberate design of impermanence of some pieces, inscription of transience in their nature. As conservator’s work consists in interfering in temporal aspect of works, in physical, visual and tangible representation of passage of time, I decided to attempt to determine where Map Room I and Map Room II should be situated in Smoczyński’s work and understand what they meant for their author. I hope that at least in part I managed to perform conservation of Mikołaj Smoczyński’s pieces in a manner consistent with the artist’s values.