“When [Kazimir Malevich] first exhibited his Black Square in 1915, he placed it in the corner of a room, in the position that icons occupied in a traditional Russian Orthodox home. In this way he imbued his image with the transcendental qualities of the icon and indicated that it embodied a metaphysical truth.”

—Christina Lodder, the essay Searching for Utopia, from Modernism: Designing a New World, 1914-1939, edited by Christopher Wilk, 2006.