A sots-art painting in all cases provides the justaposition of diverse aesthetic elements, one of them mandatorily being a phenomenon of the soviet propaganda – a symbol, an image, a political figure etc. The political rhetoric will necessarily appear to be in conflict with the artistic methods of representation taken from Dadaists, avant-gardists, realists, socialist realists etc. take, for instance, the renowned sunset landscape by Erik Bulatov, with the soviet emblem disappearing beyond the horizon instead of the sun. It should be noted that sots-art is not the trendy aggressive rejection of the soviet reality. Sots-art artists called themselves children of socialist realism and grandchildren of avant-gard for good reason. For a soviet person a portrait of the communist “vozhd” on the wall was as close and natural as dissident anecdotes in the kitchen. These mutually exclusive things cohabited people’s minds raising no questions. This unique cultural and psychological phenomenon lays the foundation for the style of sots-art, which having said all the above, no longer seems to be a caricature, but the nostalgic self-irony of people who used to truly believe in socialism. The term of sots-art is playfully coined from socialist realism and pop-art, the latter being the movement inspired by mass consumption of products, sots-art representing the mass consumption of ideology.