Abstract
In her memoirs, the celebrated Russian translator Rita Rait-Kovaleva reminisces about her friendship in the 1920s with the poet Vladimir Maiakovskii. One recollection concerns the advent, in the wake of socialist revolution in Russia, of a radical new form of three-dimensional work that could not be encapsulated within the terms of the traditional category of sculpture-the so-called spatial construction. Rait-Kovaleva attributes to Maiakovskii great insight apropos the urgency and future significance of this new Constructivist form:
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