"Moon (Propaganda)" plunges into a field of disorientation. Here, Sobczak stages a collision between capitalist iconography, fascist grotesques, and present-day humanitarian crises. The “Knight of Capitalism,” drawn from Luc Boltanski and Ève Chiapello’s analysis of capitalism's evolving legitimations, is transformed into a monstrous amalgam of George Grosz’s fascist caricatures and contemporary technofeudal motifs. Sobczak’s Iron Man figure locks a broken barrel labeled “capitalism” into a fascist ring, visualizing the transition from capitalist deregulation to authoritarian closure described by theorists like Przemysław Wielgosz.