The exhibition in Odesa is not the literal repetition of the National Art Museum exhibition. Works from the Odesa Fine Arts Museum collection complemented the exhibition, demonstrating the connection between the two museums. For example, next to Anatoliy Petrytskyi from Kyiv, his "Odesa" work "Rest" is displayed – the flavor of the Ukrainian avant-garde is recognizable in both works.
Along with the portrait of Mykola Bilyashivsky, director of the National Art Museum, there is a portrait of Mykhailo Kozyk by Mykhailo Zhuk, who lived and worked in Odesa from the 1920s until his last days. Next to the works of the Odesa artist Teofil Fraerman, the meeting with which will be a surprise for the visitors, there is the work "Interior" from the Odesa Fine Arts Museum collection.
Comparing the Ukrainian art of the 1920-1930's with Russian, you cannot ignore the noticeable differences. Peculiarly, if the artists of the most critical group in Soviet Russia, "OST", gravitated to the expressive means of their German contemporaries, who were declared degenerate art. Ukrainian artists of that time were stylistically closer to the art of early Mussolini's Italy, where there was a turn from futurism to neoclassicism. Therefore, we can use the term Ukrainian Novecento concerning Ukrainian art of that period and consider it in the pan-European context of the transformation of the avant-garde of the early 1920s into the totalitarian art of the 1930s and 1940s.