TABLE OF CONTENTS

SOTS ART: SIGNS OF THE TIMES

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.

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the March 2008 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.