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Abstract: The article deals with the issue of reception of Khlebnikov’s personality and creative activity in the Russian poetry of the early 1920s. The creative experience of “the discoverer of poetic continents”, as Mayakovsky called him, was very important for the young poets who were entering the world of literature in the era of wars and revolutions. His theoretical studies, “verbal experiments”, rhythmical and intonational diversity of his verse became one of the most important sources of the poetry of Russian Futurism. The groups of poets oriented towards expressionistic poetics are considered inheritors of Khlebnikov in this article. The term “expressionism” as the title of a literary group in Russia was introduced in the summer of 1919 by I. Sokolov. Beside the group of Ippolit Sokolov, which existed in 1919–1922, the expressionist “wing” of Russian poetry included fuists (1921–1924), “Moscow Parnassus” (1922–1925) and Petrograd emotionalists (1921–1925) headed by Mikhail Kuzmin. The author examines the theory and practice of Russian expressionists largely in connection with the role and the place of Khlebnikov’s creative activity in the Russian poetry of the early 1920s. Taking advantage of comparative and typological methods, the author comes to the conclusion that a number of features in Khlebnikov’s poetics are correlated exactly with the expressionist worldview and imagery. The poet opposed spontaneity of creative activity to the positivist aspirations of the majority of futurists; he focused his poetry on the themes of fate and death and antiwar motifs. Various cases of influence of the poetics and philosophical-aesthetic program of Khlebnikov are reported in the article. Poetic dedications of B. Lapin and V. Monina demonstrate the verbal experiment and the features of rhythmic and graphic organization of verse close to Khlebnikov. M. Kuzmin highlights the features of his artistic thinking that were important for the poets of the Russian expressionism: “passion for the Russian language”, “strange and fuzzy play of shifts”. The given study of reception of Khlebnikov’s creative activity in the circle of Russian expressionists gives the opportunity to see the picture of the literary process of the early 1920s more clearly and to reveal the mechanism of inheritance of Khlebnikov’s unique experience.