The article is devoted to the study of the influence of the socio-political context of the «post-thaw» period (1964 - 1970) on Soviet culture in general and on monumental art in the Soviet province in particular. «Post-thaw» is a term characterizing the historical period between the fall of Khrushchev and the «frost» that followed the invasion of Czechoslovakia by Warsaw Pact troops in 1968. The cultural and ideological processes of the «post-thaw» period became more complex compared to the period of the thaw. «Post-thaw» gave rise to such forms of social life and culture that did not support the official ideology and official discourse, and at the same time were not openly opposed to them. Monumental art in the USSR, especially monumental decorative painting, developed mainly within the framework of rigid ideological canons, but during the post-thaw period, artists were already more free in their choice of styles than before, and they were not prohibited from using any new artistic forms, elements abstract art. In the course of the study of a specific case undertaken by the authors, the meanings of the panel «Soviet Tataria» on the outer facade of the suburban railway station in Kazan, built in 1967, were analyzed.