The cycle is based on an observation of the practices of public cleaning services in Minsk, who are unable to wash away the corrosive graffiti from the Soviet marble and granite walls of underpasses and began to glue them with a self-adhesive film with a marble pattern. The artist called such quasi-marble "social marble” which anyone can afford. As part of the cycle, on the one hand, the artist uses this film to create works about communities and the rise of civil society in Belarus, about social transformation and the network of solidarity. On the other hand, this film symbolizes the Belarusian authoritarian regime, its censorship and the image of the pseudo-social state, which is based on the Soviet myth. This part of the cycle criticizes the historical fakes and nation-building mythology of the Belarusian state. Also, Social Marble reveals the image of memory palimpsests and the anxiety of traumatic historical transformations in the Eastern European region.