The sculpture was originally installed in 1977 as a temporary cardboard set for a television program before being cast in bronze in 2005.
The fourteen figures are arranged so that seven appear to be descending into the ground, while seven emerge on the opposite side of the street.
Jerzy Kalina, the sculptor, drew inspiration from the atmosphere of mystery and fear during the 1981 martial law period.
The installation was recognized by Newsweek in 2011 as one of the most beautiful places in Poland.
The figures are intentionally cast at a natural scale to blend into the city's pedestrian traffic.
The Passage, locally known as Pomnik Anonimowego Przechodnia, is a public art installation in Wrocław featuring 14 life-sized bronze figures. Created by sculptor Jerzy Kalina, the work was unveiled in 2005 to commemorate the 24th anniversary of the introduction of martial law in Poland. The installation depicts a group of pedestrians literally disappearing into the pavement on one side of the street and emerging from it on the other. It symbolizes the 1981 communist-era crackdown when citizens had to move through society in secrecy or 'underground.' The figures include people from various walks of life, such as a woman with a stroller, an elderly person, and a student carrying a briefcase. It is widely considered one of the most significant monuments in Poland from the post-communist era. The figures are located on opposite sides of Świdnicka Street near the intersection with Marszałka Józefa Piłsudskiego.
From the sidewalk level, capturing a ground-level perspective that makes the bronze figures appear as if they are walking alongside living pedestrians.
Visit during the shoulder hours of the day to capture the figures without large crowds of pedestrians walking through them.
Observe the installation from both sides of the street to fully grasp the 'underground' narrative of the piece.
Look closely at the details of the figures' clothing and luggage, which reflect typical attire from the early 1980s.
Don't focus only on one side of the street; the artistic narrative requires viewing both the disappearing and emerging groups.
