Commissariat for Education, and helped found the Institute for Artistic Culture. He taught from 1920 to 1930 at the Higher Technical-Artistic Studios (VKhUTEMAS/VKhUTEIN), a Bauhaus organization with a "checkered career". It was disbanded in 1930. In 1921 he became a member of the Productivist group, with Stepanova and Aleksei Gan, which advocated the incorporation of art into everyday life. He gave up painting to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the filmmaker Dziga Vertov, with whom he worked intensively in 1922. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on, shooting his own photographs as well. His first published photomontage illustrated Mayakovsky's poem, "About This", in 1923. In 1924, Rodchenko produced what is likely his most famous poster, an advertisement for the Lengiz Publishing House sometimes titled "Books", which features a young woman with a cupped hand shouting "книги по всем отраслям знания" (Books in all branches of knowledge), printed in modernist typography. From 1923 to 1928 Rodchenko collaborated closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, the publications of Constructivist artists. Many of his photographs appeared in or were used as covers for these and other journals. His images eliminated unnecessary detail, emphasized dynamic diagonal composition, and were concerned with the placement and movement of objects in space. During this period, he and Stepanova painted the well-known panels of the Mosselprom building in Moscow. Their daughter, Varvara Rodchenko, was born in 1925. Criticism and Censorship Throughout the 1920s, Rodchenko's work was very abstract. Rodchenko joined the October Group of artists in 1928 but was expelled three years later, charged with "formalism", an accusation first raised in the pages of Sovetskoe Foto in 1928. As changes developed in the Soviet Union in the late 1920's (particularly the exiles of Leon Trotsky in 1928 and from the Soviet Union entirely in 1929, along with the rise of Joseph Stalin), so did the form by which Soviet art was expected to conform to. In the 1930s, with the changing Party guidelines governing artistic practice in favor of Socialist realism, the artist and photographer saw mounting criticism from state-sponsored art critics and the Party. Osip Brik, a well-established author and art critic