A sensorial exhibition like DAU is part of an intellectual aesthetic started in the 1990s which call for multidisciplinary approaches and use of all senses in art but also academics with the born of phenomenology which encourages anthropologist and other researches to use their senses to comprehend the world(Lauwrens, 2012). In this exhibition, a comprehension of the Soviet Union is offered to the visitor through all its senses, then, the visitor can become an anthropologist understanding the particularism of the ‘society’ that lived in DAU town.  Furthermore, a part of the exhibition presented the characters in the form of wax statues and another was a reconstruction of a flat in the reconstructed Soviet town. The ethnographical department of the Russian Museum in Leningrad can in some way provide a good frame for the analysis of the DAU project. As Hirsch argues, the exhibition was part of the propaganda, promising to allow people from all over the soviet union to meet other citizens in their specificities and promised a virtual experience of the Soviet Union (2003). DAU is advertised on the website as a time capsule and the actors are described as people who accepted to abandon their life, and go live as if they were in the USSR. Therefore the exhibition can be interpreted as an ethnographical museum of this time capsule.

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