"Sacharow-Ross is a philosophical kind of artist. He remains one of the few masters of his generation consistently interested in scientific thoughts, following their development. He does so seriously, outside such playful practices as Mock Archaeology or Mock Ethnography, which were popular in the West in the 1970s. In the Soviet Union of those years, the link with science was a matter of grave concern for unofficial artists – above all in the sense of Weltanschauung. In the age of total distrust of the Soviet philosophical picture of the world, the natural sciences promised an objective, non-ideological picture of the world. The “physicists,” with their constant “fronde” towards the authorities, held unofficial exhibitions and were even “patrons” – in the Soviet situation. As much as their modest means allowed, they bought works by underground artists (it is symbolic that many of the Moscow masters of a Conceptualist bent were centered around a journal called Knowledge is Power).
Few, however, managed to thematicize the “scientific” in the sense of art. One can only recall Vladimir Yankilevsky’s "Nuclear Power Station" (the spiritual-religious vector was more in demand). Even in the Soviet period, Sacharow-Ross attempted, completely consistently, to appropriate explanatory and fixative “scientific” techniques – the devices of mediation and abstraction. Probably for the first time since the 1920s and the time of Kliment Redko’s electro-organisms, all these schemes, vectors and formulae, set in motion (for example, in his [System of Coordinates (1976)]) were something more than merely signs of the scientific discourse."