Tatlinism, or Dada's Bluff.

The article focuses on the complex reception of Soviet painter and architect Vladimir Tatlin in the German Dada movement, particularly during the 1920 Dada Fair in Berlin, Germany. Topics include Tatlin's ambiguous role as both a symbol of Soviet avant-garde art and a political figure; the critique of his machine art by Berlin Dada artists; and how Tatlinism evolved into a conceptual tool for exploring materiality, machine aesthetics and political commitment in the Dada circle.