This book examines the many functions of paper in the fine art and aesthetics of the early twentieth-century modernist or historic avant-garde (expressionism, cubism, futurism, Dadaism, surrealism, constructivism and many more).

Sascha Bru is a professor at the Faculty of Arts at the University of Leuven, Belgium.

Part 1 Paper Matters 1. Painting White Paper White: Whiteness in Pablo Picasso's Papiers Collés 2. From Tearing to Infra-Thin: Paper, Materiality and Metaphor in Arp, Picabia and Duchamp 3. Joan Miró's Collages: "A Tribute to Bad Taste?" Part 2 Paper Community 4. Medium, Platform, Art Form: Avant-Garde Experiments with Paper in the Original Print Portfolio 5. Avant-Garde by Mail 6. Paper Exhibitions: The Magazine as Exhibition Catalogue Part 3 Paper Transfer 7. Monochrome Harmony: Black-and-White Work on Paper in Belgian Constructivism 8. Making Strange: Hirschfeld-Mack, Klee, the Monoprint, and the Avant-Garde Diaspora 9."The most burning question for contemporary thinking about art:" Art Competitions and the Discourse on Painting in Reproduction in Weimar Germany 10. Transparency on Paper: Imagining Glass Architecture from Taut to Eisenstein Part 4 Paper Critique 11. Protean Papers: Material Transformations in German Paper and Kurt Schwitters's Merz Drawings and Prints 12. Steadfast Matter: Paper's Affects 13. The Treason of the Clerks: Accounting for Paris Dada Paperwork 14. Parade Albums and Censorship in the Soviet Union