The paper addresses the topic of selected abstract paintings-objects by Adam Marczyński (1908-1985) from his 'Variables' series from the 1960s, from the perspective of the semiotic theory of Charles S. Peirce and his triadic structure of the sign. In this context, the question of the relation of the language of geometrical abstraction to the real world will also be addressed.A sign, in semiotic terms, acquires its meaning through codes that enable it to be read by the viewer. In the visual arts, the language of geometric abstraction is such a sign that clearly demands decoding. But can works created within artistic currents that programmatically reject all descriptiveness and strive to purify the image be considered an attempt to interpret reality? And if so, what connection can there be between the abstract geometric sign and the real world?Referring to the now classic classification of Peirce, we can distinguish three correlates of the sign: the signifying element of signs, the object and the interpretant. The relationship between these three elements can become complicated when analysing Marczyński's abstract geometric works from the 'Variables' series, whose concept is based on the active participation of the viewer. Their form (Peirce's 'representamen') is not given once, but can be precisely changeable. Obtaining an answer to the question of what the 'object' is for Marczyński will allow us to shed light on its relationship to reality, as well as establishing the 'interprétant' - meaning created in the mind of the sign's recipient.