According to Adam Mazur, a well-known photography curator and writer, Rimaldas Vikšraitis is the problem of Lithuanian photography. In fact, not just Lithuanian, but more broadly Central European. Vikšraitis is a misunderstood freak, a perpetual outsider, an unruly eccentric. It is easier to reject and marginalise him than to understand him. It is easier to sneer from on high than to see from the perspective offered by the author. It is easier to reward achievement and speak platitudes about dignity than to study new photographs and cycles carefully. Vikšraitis's politically incorrect and visually uncomfortable photography is a moment of madness in the coherent and elegant narrative of historians, theoreticians and critics of photography. Vikšraitis is an intriguing cognitive symptom, the analysis of which allows us to understand the complexes, behaviour and identity issues of Lithuanian and Central European photography. Vikšraitis treats photography as a means of expression, but he is not afraid to stand in front of the camera and reveal his own position (to be naked in the true sense of the word). It is a record of public life, only in the realm of phantasmagoria, or perhaps hallucination... Krauss, who followed Greimas, usually dealt with any excess by applying a semiotic square, dotting the specific phenomenon with the corresponding category. However, Vikšraitis's place seems to be different, and the sidelining of this photographer does not reflect the specificity of his work. This leads us to the conclusion that he should be placed in the middle, at the intersection of the lines marking the opposites inscribed in the semantic field. Kaunas Photography Gallery (Vilniaus g. 2, Kaunas) is open until 7 July.