“The Projection Screen. Here is to be found the interpretation of [Kasimir] Malevich’s last picture [White on White, 1918]—the plain white surface, which constituted an ideal plane for kinetic light and shadow effects which, originating in the surroundings, would fall upon it. In this way, Malevich’s picture represented a miniature cinema screen. . . .

The play of refracted light. In the continuation of this work we must undoubtedly come to the manipulation of moving, refracted light (color); we must “paint” with flowing, oscillating prismatic light. . . .”

—Lazlo Moholy-Nagy, from The New Vision, 1947.