For this work, a 'white cube' of the gallery was repainted and furnished like a real living space. Unlike a museum display, there were no limiting devices or wall labels at the exhibition. Visitors were invited to read the books, use the furniture, listen to the radio, drink some tea and alike. Completely made-up by the artist, this 'old St. Petersburg apartment' renders a long-term layering, referring simultaneously to the 19th-century interior genre painting, a setting of a Soviet intelligentsia flat of Brezhnev's 'stagnation' time of the 1970s, as well as to the current house environments of Russia’s contemporary intellectual and artistic milieu. Here, in this atmosphere of "everlasting Russian Biedermeier", a space of an apparent impossibility of a genuine gesture, a viewer could find, among other things, a stopped watches, a pistol holster, a pack of neuroleptics, and a routine set of books on revolutionary history, poetry, and contemporary critical- and art theory.