Many of Czerepok's works exemplify the interventionist strategy, in which the artist either designates activities outside the gallery as artistic and presents a record of them in the gallery, or designates the gallery as a place in which events can happen that are not conventionally regarded as artistic.

In one of these projects, entitled Alles ist schlecht (Everything is bad, 2000), Czerepok installed about 80 hand-made signs along Poland's east-west route A2, which crosses the country and then leads on to Berlin. The signs imitated the style of the already existing ones with which the locals living along the road advertise goods for sale such as mushrooms or cigarettes. Czerepok's signs were in German, eg.: "Alles stirbt" (Everything dies), "Niederlage" (Defeat), or "Es ist nicht lustig" (It isn't funny). When Czerepok was invited to an exhibition but was informed that the organizers could only provide the cost of transport, he built an empty crate suitable for a very large, fragile piece. The crate was made to the dimensions of the van provided and people transporting the work were given instructions to be especially careful when handling. His contribution to the exhibition was the crate itself and a video documentation of its careful loading and unloading, called The Organizers Can Provide No Support (2000). It pointed out that the system works even without any artwork, that the institution of the gallery has an administrative logic through which it seeks to perpetuate itself. Another similarly subversive intervention was The Mass (2000). Instead of producing a piece for the exhibition, Czerepok decided to order and pay for a mass at a nearby church offering a prayer for the success of the show and the work of "this talented young artist". A video of the mass was the piece he submitted. Recreation Facilities (2000) turned a gallery's spaces into a solarium with sun lamps and a sun bed, for example, or a barbeque area complete with grill and meat freezer, as if to parody the modernist premise that art is related to everyday life.

In his videos Czerepok often uses humor to reveal the absurdity inherent in documentary-like recorded episodes in which the unexpected arises from ordinary situations. Their script formula is based on the artist's observations of everyday life: places, strange gestures, or small mistakes in the everyday scheme of things. "These slip-ups can be perceived as peripheries of our existence [...] but they appear as true moments of our life. I regard them as small subversive manifestations in an everyday context," says the artist. In the video Hektor (2001, in collaboration with Z.Rogalski), a young man walks out of his house alone and we quickly realize something strange: he acts as though he were walking a dog. In We do want to be ourselves (2001, in collaboration with Z.Rogalski), as two adults play and fight in a sandbox, what we see is them struggling against maturity and serious commitments in their re-enactment of childhood.

The idea of space is very important in Czerepok's work: he often focuses on the misappropriation of sites and the misuse of their functions. In his videos he replaces their original function with a new purpose, and the actors play "normal" characters whose behavior thus looks very strange. As the critic Steve Rushton writes, "to explain something (...) about Hubert Czerepok's work: the accidental illustrates the essence of the performative use of architectural space." In recent years Czerepok has edged away a bit from his interventionist strategy and more towards "institutional critique". As Rushton points out, "In this second phase of Czerepok's work we see the introduction of a narrative element into familiar settings, often in what we might call "ready-made institutions".

In Computerstudio 001 (2002), Czerepok has asked his actors to behave in accordance with the function of the space, and indeed at first they seem extremely busy, until it becomes apparent that every move and gesture is an act of procrastination, each one interrupting the one before and thus subverting the very function of the space. The Museum (2002) video is based on existing TV shows and refers to a notion of contemporary art in the context of an art institution - a museum. Here the actors play a director and a visitor who are oblivious to the possibilities for either the institutional or the performative use of the building. Repeating clichés about contemporary art, the museum's director is more concerned with his function than with art itself; the visitor also seems able to focus his attention on neither the museum's function nor its purpose. In Library (2003), another cultural institution is turned on its head, its function and value so taken for granted that they are forgotten. This is an echo of an earlier piece, Protection (2001), in which books are used purely for the purpose of fitness training. Do you know anything about Polish art? (2002), the more documentary-style video featured in the screening, and Survivors of the White Cube, Czerepok's most recent work, both address the art system, but in very different ways. The latter is a classical strategy board-game that simulates the art world. The goal of the player, as aspiring artist, is to build a career, contingent upon production budgets, art reviews, the interest of other people, time, and of course, luck - good or bad. The game visualizes possible strategies and tricks for building a network and becoming a recognized artist.