The Soviet Night-series made in 1981- 82 consists of paintings and collages that were displayed in public for the first time in summer 2004. The cult of personality, the deficit economy, dreaming to travel outside USSR, celebrating New Year`s Eve instead of Christmas, Moscow, the black Tshaika are notions that Raul Rajangu (1960) deconstructs in "Soviet Midnight". The paintings are constructed on technique and colour symbolism, dark blue, green and black create the primary tonality of the works. In the case of several works the background is painted in teal; it seems to be the most characteristic shade, a colour of time and regime. "Soviet Night" has two separate lives. The first meaning is derived from being familiar with the 1980s context in which the works were created. "Soviet Night" is tied by nothing to the Soviet art tradition of the era, when classical collage technique i.e. cutting, tearing and pasting were considered a solely primary school activity. To depict ideological objects of desire, Rajangu has chosen a technique that completly cancels out the sublimeness of the depicted symbols of superpower. This was surely one of the reasons why it was not possible to display these works right after they were completed. The other layer of meanings - rich of connotations - is revealed, when looking at the works in a present day context. Pictures of Soviet time cars and New Year`s trees seem ironic. Irony and bitter mockery is softened by nostalgia: the cult of personality, Cold War, space invasion and the myhts tied to all of it are the childhood of today`s viewers from both sides of the iron curtain.