The controversial but bright period of the post-Soviet period, and art along with it, has become one of the most important factors in the formation of a new identity in the socio-political and cultural spaces, without ceasing to reflect the national characteristics in individual post-Soviet countries. Following the established traditions and new acquired properties, as well as developing in the context of its own culture and the influence of European culture, contemporary Belarusian art has become open to experimentation and the search for new forms of expression, and has also focused on internal problems.

Artists are making a revolution, looking for a possible way out of a sense of hopelessness, rethinking a “new” life and future, laying down the principles that are the basis of new thinking, destroying the centuries-old system of cultural isolation, and also defending the right to free expression. Art has ceased to be limited by strict censorship and has ceased to tolerate the direct interference of state bodies in the organization and activities of creative unions and associations. There is still a problem of self-identification. The historical, political, social situation in the country is directly reflected in the work of contemporary Belarusian artists.

Aleksey Tolstov works with themes of social and political tension, the impact of technology on human consciousness, environmental disaster and the theme of the crisis in general. In his artistic practice he uses a wide range of media: from painting and graphics to speculative meditation.

The artist's project "If the Past Doesn't End" is a poetic performance created at a specific location. The text was written for the Soviet heritage sites located in the public space of the city of Brest, during months of political tension in Belarus. The project touches upon the issues of time and change, conservative ideology and the possibility of the future

Artist Maria Svyatogora works with memory and observation through the prism of modern Belarusian reality. Combining artifacts and images that play an important role in the collective memory and history of Belarus, the artist tries to comprehend the facts surrounding her and life in Belarus.

For collages, Maria uses photographs from her personal archive and official photographs from magazines published in the USSR. The works are based on communist symbols and typical forms of propaganda messages, showing Soviet culture in a surreal mirror⁠.

Thus, we can conclude that the content and themes involved in Belarusian art are related to the reaction to the situation in the country, the reflection of the artist in relation to the environment, the appeal to the history of the country, the solution of internal problems.