In the exposition, viewers get acquainted with the works of about 100 artists representing the art of the 1920s - 1930s, including Alexander Rodchenko, Lyubov Popova, John Hartwild, Max Bill, Alexander Deineka, Walter Dexel, Aleksanra Exter, Raoul Hausmann, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Frederic Kiesler, Piet Mondrian, Hans Richter, Alexander Vesnin and others.
These "engineers", "agitators", "designers", "photo monitors", "workers" - all designations adopted by the artists themselves - turned away from traditional forms of painting and sculpture and invented new visual languages. Central among these was photomontage, in which photographs and images from newspapers and magazines were cut, blended, and glued together. Working as propagandists, advertisers, publishers, editors, theater designers and curators, these artists interacted with an expanded audience in new ways, creating distinctive infrastructures for the presentation and distribution of their work.
"We considered ourselves engineers, we claimed that we build works ... we collect our works like assemblers." This is what the artist Hannah Höch said when describing a radical new approach to art in the 1920s and 30s. This complete rethinking of the role of the artist and the functions of art took place simultaneously with changes in industry, technology and labor, as well as against the background of the deep influence of important events: the First World War, the Russian Revolution, the collapse of the Austro-Hungarian Empire and the rise of fascism.