Since its inauguration in 1895, the Biennale of Arts in Venice has been the world’s most renowned international exhibition of art. This chapter aims to illuminate the exhibition history of the Soviet Pavilion at the Venice Biennale and ask what a cosmonaut as an exhibiting artist can say about what was possible – and what was not – at the crossroads between different modernities. The cosmonaut landing at the world’s largest contemporary art exhibition – even in the turmoil of 1968 – will inevitably raise questions in regards to the Biennale’s game of internationalization and contemporaneity and possibly also of incommensurability. The spacewalking cosmonaut above the Black Sea is in some sense a peculiar meeting between free flight and open space and the carefully planned conquering of the elements by the authoritarian Soviet state.