The paper analyzes the content and functioning of the multi-level event category in the English-language art criticism discourse discourse on Soviet fine arts of the Thaw period. The onset of this period is defined as a significant event in the formation of the socio-political structure of the state, which affected the
development of art and culture in the Soviet Union. Exhibitions held and outstanding works of artists created within a certain socio-political context are considered as events. The latter directly affects the formation of a set of cognitive, professional and general knowledge that underlies understanding of the
event and determines the choice of linguistic means of its objectification. The factors affecting the foreign art historian's understanding of the event when an art work is created and exhibited help identify the conditions and motives for interpretation of Soviet art by representatives of another culture. The opinions
of English experts about Soviet art indicate that interpretation of art events, to a certain extent, reflects their understanding of the political structure of the state, the socio-cognitive processes underlying the artist's work, as well as their understanding of the concepts of Soviet culture. Linguistic analysis reveals the polyaspect and multi-level nature of the event category, in which the previous level can trigger the appearance of the next one. A special type of event can be identified – event-trigger, which manifests itself as an external stimulus for different responses of the recipient and for triggering new events.