This essay argues for a radical reassessment of Moscow Conceptualism to incorporate the underappreciated Nest, the group of artists Gennady Donskoy, Mikhail Roshal, and Victor Skersis active in Moscow from 1974 to 1979. The Nest's emphasis on models of shared artistic investigation, audience autonomy, and unconstructed aesthetic response helped reshape Moscow Conceptualism in the late 1970s and early 1980s, making their experience essential to understanding both the era and the works of particular artists they influenced, including Yuri Albert, Vadim Zakharov, Nadezhda Stolpovskaya, and others. The Nest's focus on alternative media and new genres, particularly on unstructured performative works, helped transform Moscow's unofficial art world, freeing it from lingering insularity and modernist conventions.

本文主张对莫斯科概念主义进行彻底的重新评估，以纳入 1974 年至 1979 年期间活跃在莫斯科的艺术家群根纳季·顿斯科伊、米哈伊尔·罗沙尔和维克多·斯凯西斯的被低估的巢穴。巢穴强调共享艺术调查、观众自主权、和非建构的审美反应帮助重塑了 1970 年代末和 1980 年代初的莫斯科概念主义，使他们的经历对于理解他们影响的特定艺术家的时代和作品至关重要，包括尤里·阿尔伯特、瓦迪姆·扎哈罗夫、娜杰日达·斯托尔波夫斯卡娅等。The Nest 专注于另类媒体和新流派，尤其是非结构化的表演作品，帮助改变了莫斯科的非官方艺术世界，使其摆脱了挥之不去的孤立主义和现代主义惯例。