Certain dominant visions regarding the Soviet avant-garde have smothered its prime significance in the development of the history of art and also of politics. They have foregrounded the enormous impact which the aforesaid event has had in the quest for a politicisation of art. This book aims to analyse the current status of certain debates that have taken place at the heart of Soviet revolutionary art, in a double sense: in what manner is the shockwave of that event still reverberating today? Also, under what pretexts is it possible to adopt some of its procedures, models and tools?

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