During the 'thaw' period after 1956, he was a student of Jacek Woźniakowski, who was one of the first professors to organise lectures about contemporary international art. Influenced by these lectures, Borowski with some of his friends decided to pursue some activities leading to the self-education and animation of Lublin’s cultural milieu, fighting – as Piotr Majewski wrote – its inferiority complex. This initiative resulted in the creation of the Zamek group, which not only rose to fame among Polish modernists but also among the milieu of the Parisian Phases movement, joining late informal painting with the original concept of 'structural art'. The group’s work is still highly regarded by art critics today. Among the group’s members were the unjustly unappreciated Tytus Dzieduszycki (who later moved to France) and Jan Ziemski (who remained in Lublin and strengthened his position as one of the most interesting local artists). Apart from them, young art critics also took part in the group. Some of them, like Wiesław Borowski, Urszula Czartoryska, Jerzy Ludwiński, and Hanna Ptaszkowska, later turned out to be great organizers of artistic life in different venues. It’s thanks to them that the magazine Struktury (Structures) was established as an addition to the literary Kamena, and 11 issues were published between 1959 and 1961. Borowski himself, after graduating and leaving Lublin, worked for Warsaw galleries Foksal and Repassage, and years later also for the Labirynt and Labirynt 2 galleries in Lublin.
To some extent these actions can be considered an important step towards going beyond the work itself – the beginning of environment. Later works by the artist can also be put in this context. Manifest lustrzany (Manilus) / Mirror manifesto (Manilus) was realized during the 1st Biennale of Spatial Art in Elbląg in 1965. 'It was a mirror', wrote Ludwiński, 'on which the artist painted and put different decorations, but everyone could see themself in this collage'. The audience was multiplied, and the artist turned their attention to themselves: they were the object of an artistic process, while he disappeared.
(Author: Małgorzata Kitowska-Łysiak, Art History Department KUL, March 2004, edited in January 2009, translated by N. Mętrak-Ruda, October 2015. culture.pl )