The art work with TAXI is based on the communication between the artist and the public, between her and social and cultural institutions, and between women and the media.
With this work she fights against violence. She points out that this space depends on the state of awareness and responsibility of each of us. Each of us can do something to reduce violence. With our behaviour and actions we can also relativise powerful ideological machines, such as the media and their virulently sexist and homophobic news and pictures.  
Communication, establishing verbal and other relationships among people is the substance of relation art. Works of such kind evade  physical/ity. They are not embodied/materialized.

Instead of this they are built by exchange of thoughts and information. Artists perform actions or design/create spaces and situations and offer them to the public to be 'used' as a platform.
The public, which is not often the regular art public, but rather random passers-by, can accept this platform and develop it. It can establish dynamic relation with the art works.
An automobile is not an unusual space for confessions. A person usually feels good in it, as good as if he/she were at home.
Yet a taxi is not any car. It is a carriage vehicle, creating 'interspaces' between personal and public, a space where different worlds encounter. Confession in the taxi, in a public mobile unit, is a metaphor for the art of Aprilija Lužar and activism in general.
Personal stories are being publicly confessed here. If  'conciliation'/ 'reconciliation', this specific state of the soul/mind during the confession, settled into society, every problem would be resolved. Yet the problems are still with us, and therefore Aprilija Lužar travels from place to place and with her art she sensitizes the public, women and men, to respond in such a way as to eliminate violence.  

It is an artist's contribution to the elimination of violence and abuse. In last couple of years Aprilija Lužar has used TAXI on several occasions. She has produced it as an installation in different variations. Each version has been autonomous, and each has returned to the same topic, as if to the roots, thoroughly incorporating the body of the artist.