- . . . . , 4 . , 1987.
- , . . . 80- .
- . . . 80- .
- , . , , . . . , 1983., . , , 1993.
( )
- , , . . . , 1989.
- .
- ( ). . - , ( - ). . , 1988.
(Double after)
- - , , . ( - 20- 30- .) . . Photography as a Remedy/or Stammering. in Boris Mikhailov Unfinished Dissertation, Scalo, Zurich/New York, 1998.
- - , . - . , , ( Ļ): , , , , , , , , , , .. . . 1- , 1980. . . , 1987.
- , , , . . . , 1985-1986.
|
|
(Dissident modernism)
- 60- . . . Avant-Garde and Kitsch, in:M. Tupitsyn. Margins of Soviet Art, Giancarlo Politi Editore, Milan, 1989.
(Doublets)
- , . . . Sots art: The Russian De-constmctive Force, in: M. Tupitsyn, Sots Art, The New Museum of Contemporary Art, 1986.
- , - . . . . - . , , 1995.
- . , . . . , 1993.
- - , , . . . Die Erfindung Russlands. Hanser, Munchen, 1993.
- - . . . . , 1989.
(-)
- (), . . . , . 3 4,1'982.
- , , . . . , 1989.
(Ideological factura)
- , - , - , . . . Sots art: The Russian De -constructive Force, in: M. Tupitsyn, Sots Art, The New Museum of Contemporary Art, 1986.
- , . . . , 1989.