A 1921 geometric abstraction by László Moholy-Nagy, featuring precise intersecting planes and circles in a balanced, Constructivist arrangement.

Composition A XXI, painted in 1921, represents the early exploration of geometric abstraction by László Moholy-Nagy. During this period, the artist moved away from representational subject matter to focus on the interaction of light, space, and pure form. The work features a series of intersecting planes, circles, and linear elements arranged against a neutral, beige background. Moholy-Nagy utilised a precise, calculated approach to balance the visual weight of the black and red circular forms against the elongated, diagonal white and grey shafts. The inclusion of striped bands at the base introduces a rhythmic quality, contrasting with the smooth, flat surfaces of the primary geometric shapes. This painting reflects his interest in the mechanics of vision and the potential for non-objective art to communicate through spatial relationships rather than narrative content. As a member of the Bauhaus faculty, Moholy-Nagy sought to integrate art with industrial technology and modern design principles. His work from the early 1920s often displays a preoccupation with transparency and the layering of forms, which he would later investigate further through his experiments with photography and light-modulating devices. The composition avoids decorative excess, favouring a clean, analytical structure that prioritises clarity and balance. The interplay between the sharp, angular lines and the softer, curved forms creates a sense of tension and movement within the static frame. This piece remains a clear example of the Constructivist ethos, where the artist acts as an engineer of visual experience, stripping away extraneous detail to reveal the fundamental building blocks of the image.