print shop. In June 2007 the independent Russky Avangard foundation filed a request to list the building on the heritage register. In September 2007 the city commission (Moskomnasledie) approved the request and passed it to the city government for a final approval, which did not happen. In October 2008, the abandoned building was badly damaged by fire. Exhibitions of the 1920s After two years of intensive work Lissitzky was taken ill with acute pneumonia in October 1923. A few weeks later he was diagnosed with pulmonary tuberculosis; in February 1924 he relocated to a Swiss sanatorium near Locarno. He kept very busy during his stay, working on advertisement designs for Pelikan Industries (who in turn paid for his treatment), translating articles written by Malevich into German, and experimenting heavily in typographic design and photography. In 1925, after the Swiss government denied his request to renew his visa, Lissitzky returned to Moscow and began teaching interior design, metalwork, and architecture at (State Higher Artistic and Technical Workshops), a post he would keep until 1930. He all but stopped his Proun works and became increasingly active in architecture and propaganda designs. In June 1926, Lissitzky left the country again, this time for a brief stay in Germany and the Netherlands. There he designed an exhibition room for the art show in Dresden and the ('Room for constructivist art') and shows in Hanover, and perfected the 1925 concept in collaboration with Mart Stam. In his autobiography (written in June 1941, and later edited and released by his wife), Lissitzky wrote, "1926. My most important work as an artist begins: the creation of exhibitions." In 1926, Lissitzky joined Nikolai Ladovsky's Association of New Architects (ASNOVA) and designed the only issue of the association's journal Izvestiia ASNOVA (News of ASNOVA) in 1926. Back in the USSR, Lissitzky designed displays for the official Soviet pavilions at the international exhibitions of the period, up to the 1939 New York World's Fair. One of his most notable exhibits was the All-Union Polygraphic Exhibit in Moscow in August–October 1927, where Lissitzky headed the design team for "photography and photomechanics" (i.e. photomontage) artists and the installation crew. His work was perceived as radically new, especially when juxtaposed with the classicist designs of Vladimir Favorsky (head of the book art section of the same exhibition) and of the foreign exhibits. In the beginning of 1928, Lissitzky visited Cologne in preparation for