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In Abstraction Laszlo Moholy-Nagy explores the formal relationships between light and dark through the photogram, a technique in which light is projected directly on to objects, both translucent and opaque, that have been placed on photographic paper. During his time as an instructor in metal arts at the Weimar Bauhaus from 1923 to 1928, Moholy-Nagy experimented with works from unusual points of view, as if seen through the eye of a worm or bird. His interest in odd perspectives is evident here, where forms appear to float in space, while the winged shape in the center suggests flight. Though he never described himself as a photographer, Moholy-Nagy produced some of the most influential photographs of the twentieth century.