In her later work Części ciała (2019), Nagabczyńska explored the face – its anatomy, physiology, and its capacity to generate meanings and emotions. She was interested in the moment when the face becomes a tool for producing (patriarchal or emancipatory) femininity – something directly shaped by the delicacy or intensity of facial expression, by the presence or absence of make-up, and by the gaze itself. As sources of inspiration for this performance, Nagabczyńska cited, among others, horror films, religious iconography, and porn culture.
'For most of the history of stage dance, up until the shift known as postmodern dance, it was linked to the expression of emotion, but the use of the face was never systematised in the way other parts of the body were,' she said in a conversation with Karolina Plinta published in Szum (2020). She added that, in her view, the power of choreography 'lies mainly in making visible the constituent parts of certain fields of reality and in continuously arranging them anew'.
Części ciała was praised, among others, by the critic and researcher of new choreography Zuzanna Berendt, who wrote in the monthly Dialog:
Nagabczyńska, constantly altering her facial expressions, generates successive imagined models of neutrality which – precisely because they appear as signs devoid of any real referent – provoke growing amusement among the audience. The more vividly the viewers react, the harder it becomes to refrain from thinking not so much about whether each proposal is apt, incisive or mocking, but about how long Nagabczyńska will manage to keep a straight face […].
