feminine and masculine types, based on the concept of gender performativity put forth by Judith Butler, which explains gender as a role chosen and played by people over the course of their lives. Thus Honor Board goes beyond a parodic-nostalgic treatment of the Soviet past and becomes a commentary on gender as constructed reality. Kadyrova’s convincing transformations demonstrate that the notions of “masculine” and “feminine” can be confidently set off by quotation marks, as they are often only a set of particular external attributes. This conditionality of gender, which brings Kadyrova’s work closer to Cindy Sherman’s photographic performances and ties it to others who work with gender critique, incorporates a certain degree of freedom, as the role here is not innate – it can be partially or completely altered.