Kulik's diploma project comprised also a work on a copy of Michelangelo's Moses, standing in the hall of the Academy. The artist made a copy of the sculpture out of rigid, colourful rugs, thus completing a long process of documented work on the statue.
An important characteristic of the work of the KwieKulik duo (and of the individual work of Zofia Kulik) was their use of documentation and motives from former activities in their artistic realisations, thus providing their re-interpretation. And so the work on the Moses statue became a fragment of the film entitled Open Form (1971), which was a result of the co-operation between Kwiek, Kulik, Jan Wojciechowski and Bartłomiej Zdrojewski. It further developed issues known from Hansen's atelier and the visual games partially taken up during Excursion (also called "alternating activities"). The footage for the Open Form was taken during seven days (for this number of days the artists had a professional camera at their disposal). These activities were taking place in various, arranged situations, on a table with food, in a television studio, in Hansen's atelier, on an actress' face, or in a landscape among others. Also Work on Transparencies realised later on was of similar character.
The issues taken up almost in laboratory conditions in the film Open Form, were elaborated upon by KwieKulik in the wider context of reality, in activities called by them Parasite Art or The Art of Commentary. The first of these terms was created on the occasion of the participation of the duo in the Zjazd Marzycieli (Dreamers' Congress), organised by El Gallery in Elbląg in 1971. At the time KwieKulik's activity amounted to (photographically documented) intervention on other artists' works. On the other hand, an example of the Art of Commentary given by the artists themselves was their working on the painting by Edward Dwurnik, exhibited at the PDDiU in 1975. Without the artist being aware of it, KwieKulik added to the exposed painting their own canvas with a text describing their problems with the exchange of a used oil bottle in the nearby shop (the text about the bottle was entitled "Art from the Nerves"). The commentary to another artist's work became at that time also a commentary on the surrounding reality and the toil of everyday life in a centrally governed country. The surroundings of the apartment-atelier on Targowa Street was in turn described in Around KwieKulik (1976) – visual and textual description of the nearest neighbourhood of the PDDiU.
One could interpret in a similar manner a group of other activities of the duo, carried out among others on the occasion of doing hackwork, works for money commissioned by the Pracownie Sztuk Plastycznych (PSP, Visual Arts Ateliers), a monopolist enterprise in charge of the visual propaganda and artistic culture of the People's Republic of Poland. One of such activities was described by Zofia Kulik in an already quoted interview:
While cutting an inscription in a sandstone block, commemorating the soldiers of the AK [Home Army] murdered by the Germans – a commission, for money, a so-called 'hackwork' at the PSP – at the same time we were making our own art called 'Activities.' We juxtaposed the first letter, then a word, and later on larger and larger fragments of the text emerging during the cutting with various elements, including our own texts written on stripes of paper.
The activities on the block collected in a book "Block." Cutting and activities. Earning and creating. Wilk syty i owca cała ["Both the woolves have eaten much and the sheep were left untouched"]. A list of all the hackwork made by KwieKulik was in turn included in the artists' portfolio – the main element of pomniKULTUchałtuRY ["monument of hackWork Culture"] from 1979. The publication of one of the photographs from the documentation of these activities (together with a hand-written commentary of the artists: "Plaster Bird for Bronze in the Fine Art Barracks") and the work Dick-Man (1974) in the catalogue of an exhibition in Malmö in 1975 caused rather sharp reaction of the authorities of the People's Republic of Poland and a "ban on representing Polish art abroad", which practically meant – refusal to give them passports. The artists' relationship with the communist authorities however was more complicated – for a few years both remained candidates for members of the PZPR [Polish United Workers' Party] (Zofia Kulik until 1981, when she returned her candidate's id), aiming from the beginning of the 1970s at including her art into the process of the reparation of the socialist country (i.e. in the synchronic, double projection Kinds of Red. The Way of Edward Gierek, 1971) – it was the party who could not accept them as its members. The condition of a certain impotence and social vegetation was just unbearable. The Party seemed the only path of private activity.