Feneva’s canvas from the collection of our museum reveals the method of "double travesty." On the one hand, the author ironically speaks against the traditional battle painting (notably, the composition of this work paraphrases a famous painting by Viktor Vasnetsov "After Prince Igor’s Battle with the Polovtsy"). On the other hand, Feneva plays with the motifs from the works of American artist Keith Haring, who created a remarkable character – a merry faceless man, devoid of sexual and racial differences. Feneva virtually replicates this hero as a defeated warrior on the battlefield. Thus, she combined the uncombinable: an ancient Russian historical scene with Keith Haring’s cosmopolitan character. This clever semantic "rhyme" that mates the stable clichés of Russian and Western "visual canon," characterizes Aglaia Feneva as a representative of the mature postmodernism art.