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This book offers a new and definitive account of how Lissitzky expanded the conceptual and representational tools available to the modern architect by drawing on many sources--including photography, typography, exhibition design, and even the elementary forms of the alphabet--to create the Wolkenbügel. Anderson shows how the production and reception of a paper project served to link key ideas and relationships that animated the worlds of art and architecture, offering a new view on received histories of the interwar avant-gardes. By attending to Lissitzky's singular architectural project, Anderson reveals the dynamics of internationality in the constitution of modern architectural culture in Europe.