I agree with @yo' (I don't have reputation yet to comment in his/her answer), not just by that measure itself, but also by other measures in the piece (link of the piece). The left hand keeps the leggiero technique in these measures, I think:
- 2nd half of 21 -- 23 (measure 22 is on the question)
- 2nd half of 25
- 2nd half of 29
- 34 -- 38
Another argument against polyrhythm in these measures is the measure 48, that shows a well-signed tuplet (12 notes). If the composer did mark that tuplet, there wouldn't be no reason to not mark tuplets on other measures, if on other measures the effect would be polyrhythmic.
Leggiero resembles Chopin or Debussy expressions, which express polyrhythm by poetic means. For instance, in the beginning of Debussy's Préludes, book 1, prélude III (Le vent dans la plaine), there's the expression "aussi légèrement que possible", meaning "as light/delicate as possible". Debussy annotates the tuplet, but he's a man of XIX century: that was the practice. Today it's very common to annotate textures without marking tuplets explicitly, if what you want is not related to polyrhythm.