Intermingling the iconography of Soviet socialist realism and Western consumer fantasy, produced by defectors and collected by plutocrats, Sots art has always been something of a cipher to viewers, critics, and historians alike. On the occasion of “Sots Art: Political Art in Russia from 1972 to Today,” recently on view at La Maison Rouge in Paris after debuting last year at Moscow’s State Tretyakov Gallery, Artforum asked theorist Boris Groys and art historian and curator Margarita Tupitsyn to assess the traveling survey exhibition and, further, to consider the strategies and legacies of the paradoxical movement whose original context is utterly transformed today.
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