The facade of Zhytomyr fencing constructions plant, executed according to the sketch by Anatolіi Shakhrai, is decorated with a rather typical mosaic for Soviet art of the late 1970s. In general, Shakhrai's works are characterized by geometricity and abstraction that in those times were called "formalism". It was particularly in the 1970s that the definition of socialist realism as "the art of humanism" became widespread due to erupted polemics with Western art historians. It allowed the Party to create a myth about the succession of socialist realism: in the only specialized Ukrainian magazine of the Soviet era Fine Arts (Obrazotvorche mystetstvo) at the time the articles about "great humanists" Albrecht Durer, Michelangelo, Titian, Rubens, Filippo Brunelleschi, and others appeared; the editor-in-chief of the magazine of the Union of Artists of the USSR Art (Iskusstvo) Vladislav Zimenko published in 1976 the book Humanism in the Art ( issued in English) where Soviet art was defined as the zenith of a long humanist tradition, associated with the Renaissance. In addition, the presentation of socialism as "the art of humanism" made it possible to combat the "western bourgeois ideology" through artistic categories: Soviet art was considered to concentrate on man and her admiration, while the Western modernist art oppressed it and neglected it, portraying human as a "sandstone" without a will in a violent life perturbations or completely ignoring her existence.
Therefore, the lack of a human figure on the facade of the industrial building is truly impressive. Shakhrai concentrated on the form of various instruments, avoiding narrativity which was an important element of socialist realism. Basing only on the form, he created an abstract geometric composition, the center of which emphasizes the combination of industrial mechanisms. The image of the facade resembles the works of artists who worked with the subjects of industrialization and mechanization in the 1920s. The colour scheme of the mosaic, in particular, a game with colour saturation, allowed the author to balance the decorated space. This decision also resonates with the avant-garde paintings of the early 20th century.