On Painting, Posters, and Sculpture over 15 Years (O zhivopisi, plakate i skulpture za XV let), 1934. In Russian.

О живописи, плакате и скульптуре за XV лет. / Сборник статей: М. М. Аркадьев, А. С. Бубнов, Н. И. Бухарин, С. С. Динамов, Б. Ф. Малкин, И. Маца, А. Эфрос.
Москва : Всероссийский кооперативный союз работников изобразительных искусств «Всекохудожник», 1934.
80 с., 2 вкл. л. портр. : ил. ; 18×13 см. Мягкая издательская обложка. Тираж 3000 экз.
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On Painting, Posters, and Sculpture over 15 Years. / Collection of articles by M. Arkadyev, A. Bubnov, N. Bukharin, S. Dinamov, B. Malkin, I. Matsa, and A. Efros.
Moscow : Vsekokhudozhnik (All-Russian Cooperative Union of Workers in the Fine Arts), 1934.
80 pp., 2 tipped-in portraits : ill. ; 18×13 cm. Softcover. Edition of 3,000 copies. In Russian.

This 1934 volume is a critical historical document that captures the dramatic ideological transition in Soviet art during the early 1930s. Published by the Vsekokhudozhnik cooperative to commemorate fifteen years of Soviet creative labor, the collection provides a deep dive into the internal logic of the "Great Break" in aesthetics, including the arrangement of Socialist Realism as the state's official artistic method. The book brings together a diverse group of prominent contributors, ranging from party ideologues like Andrei Bubnov and Nikolai Bukharin to influential art historians and critics like Ivan Matsa and Abram Efros. Their essays analyze the evolution of painting, the revolutionary role of the poster, and the monumental tasks of sculpture, reflecting a time when the avant-garde experiments of the 1920s were being systematically replaced by a more disciplined, figurative, and heroic style.
The presence of Nikolai Bukharin as a contributor makes this edition a significant bibliographical rarity and a target for historical censorship; following his arrest and execution in the late 1930s, such volumes were frequently purged from libraries or had his name and articles physically removed. The book is printed in a compact 18×13 cm format and includes two tipped-in portrait plates alongside various illustrations of contemporary Soviet artworks. Published in a limited run of 3,000 copies, it serves as a snapshot of the intellectual struggle to define the "new art for the new man" just as the Stalinist cultural canon was being finalized. For bibliophiles, art historians, and collectors of revolutionary ephemera, this 1934 Moscow imprint is a vital primary source, documenting the shifting alliances and theories that shaped the visual landscape of the early USSR.