It is within the context of new museology, old communism, and historical politics that I suggest analyzing the latest book by Anna Ziębińska-Witek. The author from Lublin has made use of her extensive competences in the field of museum culture studies acquired as a result of many years of research to analyze the practices of museums presenting communism. Once again she has proved to be an author with sound theoretical background, skilled in making pertinent systematizations of the research material on account of both its specificity and the theoretical concepts and categories, which she successfully uses to describe, analyze and interpret the data obtained in the course of her research. Using her theoretical background on museology, history, and culture, Ziębińska-Witek was able to conduct a deep critique of selected central and eastern European museum practices referring to communism.She begins her study by providing a comprehensive explanation of how she understands musealization, the progressing institutionalization of the past culminating in a modern museum as a reaction to curbing the continuity of the past and as a need for maintaining the legacy of this past for posterity. In this meaning, musealization, according to Ziębińska-Witek, is a "conceptual separation and anchorage of a specific element from its natural context, incorporated into a new, artificial context of a museum and an exhibition, in a new relationship with the place and other objects" (p. 16). The separation of a specific element from its natural environment in order to incorporate it into the artificial context of a museum is a complex process of saving, and also establishing, a legacy of the past by historizing its traces as particularly important for the community. The saving or establishing of the legacy of the past for posterity fulfills, as Ziębińska-Witek points out, the four objectives of contemporary museums, namely the cognitive, esthetic, educational and political ones (p. 16). These objectives are strictly interrelated, and the esthetic disposition of objects/historical content in a museum organizes a historical, political, and axiological framework for its activities and, as such, stimulates the production of knowledge, influencing the emotions and imagination of the audience. Musealization is, therefore, as Ziębińska-Witek rightly notes, a complex social practice being the result of competing and/or mutually supportive "knowledge, power and ideology" (p. 21).