László Moholy-Nagy war ein Künstler, Kunsttheoretiker und Bauhauslehrer, ein Visionär und Autodidakt, der sein Jurastudium aufgegeben hatte zugunsten seiner Ideen.

Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925. Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless has a close connection to the ideas of the school in terms of content.

In the 1920s, the announcements of the legendary series of “Bauhaus Books” always spoke of a “picture journal for the age”. László Moholy-Nagy toyed with the idea of a critical survey of contemporary magazine productions. This book now asks the question of how the planned “Bauhaus Book” might have argued its case.