In 1963, his paintings March and Factory Landscape (views of the Zagorsk Optical and Mechanical Plant) appeared at an exhibition of young artists in Moscow.

Factory Landscape was published in Iskusstvo magazine just a few months after Nikita Khrushchev, the First Secretary of the Central Committee of the Communist Party of the Soviet Union, had criticized artists who were focused on the European avant-garde.

Compositionally, his work inherits Christ Carrying the Cross by Bosch (1515–1516), the expressionism of Boris Grigoriev in his Faces of Russia (1920–30s) and Pavel Filonov’s analytical experiments.

If Chubarov had previously painted some characters in easily readable relations, in the 70s and 80s, he created situations with maximum tightness and filled the canvas with more and more faces and bodies that were rarely bound by a common storyline.

Other paintings of the 1980s are full of references to hidden and demonstrative sexuality—from the image of a gravedigger to characters with chopped-off limbs or signs of rigor mortis on their faces.

[3] The heads form a separate wall covered with bars; the structure, as well as the meaning of the work—a monument to victims of Stalinist repression—did not originate with the artist.

Chubarov managed to concentrate on the painstaking creation of non-figurative painting primarily as a thing, an object in different dimensions, from the ornamental to the psychological.

Chubarov considered himself an heir of the Russian "archaic" culture, drawing a parallel between his technique and the ideas of Malevich's Black Square.

Working in his unique style, along with the iconic representatives of the Soviet art, such as Ilya Kabakov, Andrey Monastyrsky and Erik Bulatov, Chubarov embodied in his paintings the idea of a new era’s philosophy, visually identifying energy of the world around him, and transforming abstract symbols into images of reflection displaced in the conceptual art energy.

The artist refused close contact with the canvas, which is characteristic of abstract expressionism and which transforms into the fixation on a gesture, as in Pollock’s works, or into speculative space of pure color, as in Rothko’s paintings.

They settled in an apartment in Mytishchi, visited by many key figures in nonconformist and official culture, including Ernst Neizvestny and Ilya Kabakov.