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I should begin by recalling a well-known incident from the Khrushchev Thaw period in Soviet history, because of its remarkable illuminating capacity: it reveals a paradox description of a cultural era when certain ideas and things were simultaneously allowed and prohibited1. This event took place in 1962. A scandal erupted in the central Moscow exhibition space, the Manege. Artworks that demonstrated movement away from the Stalinist artistic doctrine of Socialist Realism to Modernism were on display; these were works by artists who had not been exhibited in the USSR for decades. The main protagonist of the Manege exhibition, however, was a VIP, Nikita Khrushchev himself, whose visit ended with him shouting at the modern art idiom and lambasting modernist formalists as “pederasts”.2 But there was nothing to be done; Khrushchev himself had, in the mid-1950s, opened the door to the modern world and he was no longer able to close it entirely. He might have been disappointed, but the Thaw was already in action. My paper deals with one of the fields of renewal back then – socialist art history, which, according to the Soviet understanding, comprised part of the “ideological field”3. I will discuss the modernisation of art history based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Len-

Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case