A series of articles from the nascent “Kommersant Daily” dating to late 1992/ early 1993 sought to assess the paper’s target audience, the wealthy class of so-called “New Russians.”

A clip from the most-watched entertainment show of the 1990s, "Pole chudes [Field of Wonders],” featuring the post-Soviet “narod” (people) of regular folks engaged in a free-flowing relationship with both capitalism and Russia’s Central Television.

A clip from “Politburo,” a weekly commentary show from Aleksandr Politkovsky, a former host of “Vzgliad.” This episode aired in the days following the April referendum that solidified Yeltsin’s position, and, in particular, follows People’s Deputy (and Yeltsin opponent) Alexander Rutskoy's first salvo in the so-called "Kompromat Wars," in which he made public 11 suitcases’ worth of material allegedly documenting Yeltsin's corruption. The episode ends with some May Day-themed anti-communist “chastushki” (Russian limericks).

An excerpt from the art show “Matador,” created in 1990 by “ViD”'s junior partner, Konstantin Ernst (1961-). This clip derives from an episode on contemporary art and boasts a joyously elitist feel consistent with “ViD”’s "New-Russian" ethos.

The bearded B.U.Kashkin (1938-2005) stands in front of an array of trash bins painted with bright, colorful scenes featuring trees, butterflies, and flowers. Against the background of this artistic display, pigeons are seen digging through the site’s abundant garbage and mud.

A series of philosophical and theoretical texts from Russian and international authors published by Ad Marginem, meant to bring the latest in global thought into newly opened post-Soviet minds.