Founded by a group of international artists and writers in 1927, the journal i 10 supplied a remarkable selection of historical documents from the late 1920s. Reporting on the occasion of a reedition of the journal, Lucia Moholy, who was a part of the group, discusses the circumstances of its founding and its importance to the interwar European avant-garde.

Likely published in anticipation of a 1967 volume of primary documents relating to the Russian artist El Lissitzky, Lucia Moholy discusses the artist's biography, career, influences, major works, reception, and relation to the Bauhaus. Drawing on her involvement in the fields of publishing and printing, she also introduces his then little-known books and graphic art, as well as his conception of the “Proun.” Although not stating it explicitly, much of her knowledge draws on having known Lissitzky personally in the 1920s and his writings from that period. The text stands as one of the earliest discussions of Lissitzky outside of the Russian language.

This text was published as an exhibition review of 50 Years Bauhaus , the first major survey exhibition of the German art school, which traveled across Europe and North America. Her main concern is the “image” of the Bauhaus that is conveyed in this survey, which took a very loose approach to what counted as representative of the school. Moholy was the first to draw attention to the exhibition's unorthodox approaches, which many later criticized as historically inaccurate. She also discusses image-making at the Bauhaus in relation to painting, printmaking, and photography.

An extension of her exhibition review “Image of the Bauhaus” from two years before, this essay was the first to foreground how the Bauhaus was being historicized, even as that history was still in formation. Her method is aphoristic, as she assembles an arsenal of quotations and phrases culled from the press and various other publications. Through strategic juxtaposition, as well as recourse to an unstated personal involvement in the history that she discusses, she demonstrates the emergence and consolidation of various Bauhaus mythologies.