In the publication accompanying the exhibition, the critic Nataša Ilić writes: „In the period of the current ideology of “normalization”, which acts in the field of the symbolic and the production of meaning producing consensus and consent, nationalism as a specific mechanism of social cohesion has been replaced by political correctness as dictated by integration processes to the European Union, that promised goal of normalization. But social tensions have not been resolved, only suppressed by a promise of “normalcy” to which the “Western states of late capitalism”, as welfare states in which human rights are fully respected, are supposedly close. Normalization today serves to legitimize liberal capitalism and the political system of parliamentary democracy and free market as the only natural and acceptable solution, the optimal norm of political consciousness, and all its traumatic consequences—unemployment, poverty, widening of class differences, degradation of the education system, decrease of social and health security, conservative backlash etc., have not been understood as a regular product and symptom of the liberal-capitalist system, but as mere “side-effects.” “All One Knows” does not produce a politically correct and highly functional, aesthetic suggestion of non-conflicting transition towards a liberal ideal of equalizing multicultural sociability, and it reacts to the frustrating situation of false dilemmas between the “European way” and “local extremisms” with a gesture that opposes the entrapping mechanisms of normative coding that create a community in which all voices tend to be absorbed into the homogenous black hole.“