Rodchenko and Popova (Tate Modern)

The first room of this exhibition provides a very attractive display of a large number of 'constructivist' paintings, some of which I enjoyed individually too. The next few rooms give a sense of the experiments made and progress achieved in painting and there are some interesting mobiles - my word, not theirs.

After a while though, I was struck by how arrogant Rodchenko had become, with his pronouncements first on the unique importance of lines and then his declaration of the end of painting. This remains as an irritation throughout the remainder of the exhibition, and I found the series of preparatory drawings scruffy and repetitive.

I was cheered at this stage by some rather attractive figures painted by Rodchenko's wife, Stepanova and the exhibition contains works by other artists too.

The final rooms are dominated by the group's contributions to Soviet propaganda in films, pamphlets and posters. The style of these is recognisible and is what I associate with the period and there is a lot of historical interest too.

Clearly the political aspects of the work were important to these artists and they could paint but I nearly left the exhibition feeling petulant about their self-importance - despite a note stating that Stalin ordered a return to proper paintings on easels which put an end to theirwork.

The very last room is unexpected. I found it charming, if a little uncomfortable - I think you will know what I mean! I eventually left feeling pleased I had been.