Topological Library: Cobordisms in the Soviet Union, 1967-1979. Volume IV" is a unique study that immerses the reader in the world of Soviet art and culture, exploring the phenomenon of cobordism - one of the most interesting trends in contemporary art. This volume, like the previous ones, is the result of the work of a team of authors who seek to reveal the versatility and complexity of the artistic process in the USSR in the period from 1967 to 1979. In the "Topological Library" the reader will find not only theoretical reflections on cobordism, but also practical examples that illustrate how this area of art interacted with the society, politics and culture of the time. The authors focus on how kobordism has become a kind of response to the restrictions imposed by the totalitarian system, and how artists sought new forms of expression in conditions of strict censorship. This makes the book especially relevant for those who are interested not only in art, but also in history, sociology and cultural studies. The book will be of interest to a wide audience: from students and teachers of art universities to art lovers and historians. It will become a valuable source of information for those who want to better understand the context of Soviet art, as well as for researchers working in the field of cultural studies and sociology. If you are fond of modern art, the history of the USSR or just looking for something unusual and informative, the “Topological Library” will be a real find for you. The themes raised in the book are diverse and multi-layered. The authors discuss the impact of the political situation on the creativity of artists, explore the issues of identity and expression in a repressive regime, and also consider how cobordism has become a symbol of resistance and freedom. These aspects make the book not only an art, but also a social document that helps to understand how art can reflect and shape public moods. The style of the authors is characterized by a deep analytical approach that combines elements of scientific research and artistic storytelling. They use rich language and metaphors, which makes reading not only cognitive, but also fascinating. The book is full of illustrations that help to visualize the works discussed and their context, which is especially important for understanding cobordism as an artistic direction. The Topological Library is not just a book about cobordism, it is a whole era imprinted on the pages that allows the reader to feel the spirit of the times and understand how art can be a powerful tool for self-expression and protest. If you are interested in such works as “Art in the conditions of socialism” or “Soviet art: between tradition and modernity”, you will certainly find a lot in common in this book. In conclusion, "Topological Library: Cobordisms in the Soviet Union, 1967-1979. Volume IV" is an important contribution to the study of Soviet art, which will not leave indifferent either specialists or amateurs. It opens up new horizons for understanding cobordism and its role in the cultural life of the USSR, and also inspires further research and reflection on the place of art in society.