The mosaics that decorate the facade of the cinema Zhovten, reconstructed in correspondence to the project of Hennadіi Yershov, was created in 1988–1989. Particularly during Perestroika, the process of rehabilitation of the artworks of Ukrainian avant-garde artists began during historical revisionism campaign (including the filling of so-called "blank spots" of history), launched in Ukrainian press and specialized literature. The first official exhibition where the paintings that were until recently defined as "formalist" were displayed was The Youth of the Country, organized in 1987 with the assistance of, in particular, Tiberiy Silvashi, who is a well-known Ukrainian abstractionist now.
Thus, the mosaics on the facade of the cinema Zhovten is an embodiment of the first steps of the artistic environment of Soviet Ukraine to the possibility of the existence of diverse styles in the public space Its authors built a composition with several works, including artworks Unity, Red Stones and Revolutionary Bells. Despite the fact the titles of these mosaic panels correspond to propaganda discourse, which was encouraged by state art institutions, their execution is completely contrary to the doctrine of socialist realism. The works are non-figurative compositions where only the outlines of horses and the sun, depicted by light curves, one may guess certainly. The colour palette resembles oil painting one: the red background is accentuated by its several shades of varying saturation and orange chips. The artistic application of sharp angles and clear rectangular shapes was highly significant for the construction of the composition and the achievement of the colour rhythm. The lack of a narrative element, which was essential for the doctrine of socialist realism, in the decoration of the facade of the cinema Zhovten facilitate reinterpretation of the object in the context of the present.