Abstract <p>The article examines the most characteristic contradictions in the development of monumental art in the Soviet Union, associated with ideological, professional-creative, and organizational factors. Particular attention is paid to the emergence and subsequent use of the concept of “Lenin’s plan for monumental propaganda,” historically linked to the events of 1918 but only becoming relevant in the second half of the 1950s. It is shown that the constant appeal to the highly subjective concept of “ideological and artistic value” in relation to works of monumental art could have both positive and negative consequences. In conditions of insufficient clarity and possible adjustment of basic principles up until the period of late “perestroika,” the role of state and party organs was decisive, that of the creative community was advisory, and that of ordinary Soviet citizens was assisting. Moreover, planned objectives in the field of monumental art were constantly adjusted under the influence of financial and other material factors, which led to the abandonment of certain major projects or the emergence of “memorial long-term construction projects.”</p>