The 1974 bulldozer exhibition introduced the second wave of the Russian avant-garde into cultural circulation, thereby becoming an important event in the history of Russian art. As a result of the Bulldozer Exhibition and the subsequent sanctioned vernissage in Izmailovo, hundreds of spectators saw unofficial Russian art, which has now settled in the collections of leading museums and private collections around the world.

Vitaly Komar, in his reflections, cites the idea that the Bulldozer Exhibition was inherently an art revolution, as a result of which unofficial movements were publicly exposed for the press, artists, collectors and the international community of the 70s. Thus, the formerly banned avant-garde came to the forefront of Moscow's artistic discourse. Komar and Melamid are co-organizers and direct participants of the Bulldozer Exhibition and the principal figures of Russian art of the second half of the 20th century. In the summer of 1972, they came up with a new movement entitled Sots Art. They wrote the manifesto of Sots Art, and at the 1974 bulldozer exhibition they first showed the possible directions of this genre.