The article is an analysis of the reception of 'Consumable Art' by Natalia LL. The work is a series of photographs and films made in the years 1972-1975 featuring women consuming bananas, frankfurters, custard and starch jelly. The work was achieved in the neo-avant-garde circles and was in those circles perceived as 'an exploration of morphological potential of the sign and the capacity of the medium' (Andrzej Lachowicz). Simultaneously it functioned in the sphere of feminist art, into which it was included in the 1970's by female researchers of Western Europe. In the present article the authoress conducts an analysis of the ambivalence resulting from this inclusion, which is caused by, among other factors, the incompatibility of Western discourse to Polish situation. It is also pointed out that it is only in the second half of the 1990's that the feminist discourse appears in the declarations of the artist herself and of some critics, which is related to the shift, observable in their texts, of 'Consumable Art' from the area of conceptual art to the area of body art. The authoress enters a polemic with some elements of those interpretations, e.g. those referring to the critique of consumerism, and proposes to concentrate on the work by Natalia LL as one referring to erotic desire and female pleasure as issues which had no proper place in the mainstream culture (in the case of Natalia LL, the culture of the People's Republic of Poland). In this context the author recalls the contemporary pastiche of Natalia LL's work, 'Spróbuj tego!' (Try this!) (2006) by Karol Radziszewski.