The article traces the obvious infl uence of socialist realism on the development of Sots-Art; but above all, it analyzes the possibility of another image of SotsArt, its going beyond the limits of ideological depiction. The author examines the image through the relationship of “space” and “plane”, which she introduces as an aesthetic feature lying in the history of art and in visual text. The author reviews the historical and artistic situation that determined the emergence of Sots-Art. Socialist realism had prepared a platform for the ideological manifesto of Sots-Art. Not renouncing the socialist realist tradition of depicting, Sots-Art opened it again, aiming to defi ne the visual form of postmodernism that would use the Soviet ideologemes. Basing on the “plane” and “space” analysis of visual texts or pictures, the article examines the construction features of the fi gurative Sots-Art language. Sots-Art uses the socialist realism’s plane, its familiar image and expressed ideology, and converts it into a landscape, which means the possibility of space. Thus, Sots-Art determines the degree of perception of painting, highlights its shaped status.