The exhibition of Andrey Grositsky, a nonconformist artist and representative of “Other Art”, takes place at the MMOMA, Petrovka 25. In the first room, Grositsky’s work is demonstrated the way art history remembers him. He was a “poet of an object” whose painting transcended the canvas towards territory of objects. His artworks were fueled by a specific metaphysics of things. This part of the show focuses on the very hits made by the artist, including the iconic composition with a broken lock. Objective realm of the artist’s studio, which consists of various, rusted and injured by time, bizarre stuff and details of some machines, impacts with the audience in vitrines spread out over the whole exhibition space. The second room was inspired by the topic that was important for the artist— enactment, “acting” object, which works for the entire work of Grositsky. Already here, in the beginning of the way, one encounters another motif that we wish to speak further. And this is Brutalism. The show displays it as a phenomenon going beyond the architecture and obtaining a particular form in Soviet monumental and “easel” art. In the third room, one explores an art context, which was contemporary to Grositsky. Igor Shelkovsky’s pyramid as a model of totalitarian building that wasn’t erected and artworks of Boris Turetsky, which allude Arte Povera and Art Brut, organically close to the Western Brutalism. The last rooms of the exhibition show not only how a number of contemporary artists stand close to Grositsky but also the proceeding existence of Brutalism nowadays. Abstract duct tape objects by Alexander Golynsky, re-interpretation of habitual materials in the work of Vitaly Bezpalov, Artem Filatov’s concrete and wood pieces, “wounds” of a painting by Vladimir Potapov, and traumas becoming a starry sky through the “wood painting” of Nestor Engelke— all of them form a “Brutalist” arm of actual art process.