Through his incredible knowledge of Russian constructivism, Kosovel left a deep mark on his associates and friends. A year after his death, in 1927, Trieste Constructivist Cabinet was exactly the place where, due to Kosovel’s influence, an argument between supremacists and constructivists was settled (previously attempted by Lissitzky through a theoretical synthesis of both fractions in year 1921). Through a white square hanging from an invisible thread under the ceiling, “White on White” by Malevich, an icon of modern painting, the burden of a composition was stripped off and the border between the aesthetics of subjected framed painting and the construction as a new formation of space was established. The statics of Malevich’s work, as probably Kosovel would have told in his exposition, grew into the space and transformed into a moving construction. This means it was exactly during this occasion in Trieste when Malevich was liberated for the first time from historical burden laid upon him by Tatlin when he described his work as “a sum of all mistakes in the history of painting”. These facts put Trieste Constructivist Cabinet among the most important events in the history of avant-garde in general. The argument that started in INHUK between Kandinsky and Rodchenko, later continued between Kandinsky, Moholy-Nagy and Gropius on Bauhaus and transferred into the argument between Černigoj-Kosovel in Ljubljana, was finally settled. Willet’s thesis that there was no avant-garde below the line Vienna-Budapest was completely rejected. Kosovel is responsible for the constructivism having one of its pinnacles outside the Soviet Union right through his kons. Kosovel was aware of it – in his Mechanics he wrote about the related events taking place in Slovenia for the first time and he understood his life as „Slovenian, contemporary, European and eternal“. Ergo, Kosovel never belonged to a small-town literature as his example completely denies the thesis that the constructivism achieved significance primarily in fine arts and architecture, whereas its influence onto the literature in Europe never took deeper roots. Intensive but short Kosovel’s political phase serving the revolutionary purposes, as it happened with many Russian, French, Czech, Polish, German and other members of the avant-garde movement, ended with Kosovel’s death. He died too young to reach the indoctrination of the thirties which yet finished with the conflict in the left-wing in Slovenia, unlike what happened in other parts of what was then Yugoslavia. In the last years, especially last months of his life, Kosovel was floating between the poetic and political, between kons and integrals. In his last exposé before the urban audience, which was later postponed, he was planning on re-appearing as a constructivist which is immensely important for understanding his constructivism. Therefore we are analysing Kosovel’s public appearances thoroughly and following his increasing political engagement which slowly resulted in the ban of his public work, coinciding with his fatal illness.