The forming of Siberian art in the 20th century was marked by the search for the tools for the Siberian specificity representation leading to the search for the Siberian thematic range, local plots, which were realized with the help of universal tools taken from the arsenal of central art schools. The most adequate means of the Siberian specificity representation were found in the synthesis of art, literature, and graphics, i.e. in an intermedial complex. The territorial identification of a literary work by means of art of the book with a special focus on the “thingness” of art is examined by comparing two editions of one of the most “Siberian” texts - Queen Fish: A Story in Two Parts and Twelve Episodes by Victor Astafiev: the edition with illustrations by Sergei Eloyan (2003), and the edition with illustrations by Oleg Mikhailov (2013). The artwork done by O. Mikhailov is easel graphic art which is successfully exhibited and has an independent life outside the book. On the contrary, it is difficult to imagine the illustrations of S. Eloyans outside the body of the book, since they are very closely related to both visual appearance of the text and the external form of the codex. S. Eloyan is addressing Russian icon painting traditions. Each edition is applying its specific means to embed the emotionally saturated, integral image of Siberia in the reader.