The exhibition of three young graduates of the Warsaw Academy of Fine Arts: Mieczysław Szczuka, Henryk Stażewski and Edmund Miller, which took place in 1921, is considered one of the first displays of constructivism in Polish art. Szczuka presented compositions made out of iron, stone, glass and wires, Stażewski showed Cubist still nature and Miller made posters, where the typography was based on building compositions out of words and letters in such a way to visually emphasize the most important parts of the text. Even though this exposition already rather diverged from the previous events, the word 'constructivism' was not yet used.
The opening of the "New Art Exhibition" in Vilnius by Strzemiński and Kajruksztis (1923) is considered the symbolic beginning of the Constructivist movement in Poland. For the first time, the 'construction' slogan appeared as an artistic postulate, while the innovatory character of the exhibition drew a lot of attention. A set of kitschy postcards was arranged with a collection of avant-garde publications, periodicals and books, often dedicated to the subject of art. The exposition also featured works of such artists as: Karol Kryński, Witold Kajrujksztis, Maria Puciatycka, Henryk Stażewski, Władysław Strzemiński, Mieczysław Szczuka, Teresa Żarnowerówna. It was dominated by geometric compositions, many of which were Cubist and Purist-like; however the exhibition was very diverse. In retrospect, most apparent is the exploration for principles of the new art, inspired by various directions of modern creativity. The accompanying texts on the program prepared by Szczuka were partly printed in the catalogue or entirely published in "Zwrotnica" / "Junction" and broached the problematic aspects of constructivism such as postulates of art unity and social issues.
The exhibition initiated the Blok Group of Cubists, Constructivists and Suprematists/"Blok" Kubistów, Suprematystów i Konstruktywistów (1924-26). The group consisted of among others, the aforementioned artists who played a significant role in the radical avant-garde of the Polish interwar period. Together they started the Blok journal in which they published their own theoretical pieces, including texts by Kazimierz Malewicz, Filipp Tomaso Marinetti, Theo van Doesburg, Kurt Schwitters and Herwarth Walden. The creative fascination with Russian constructivism, Malewicz's supermatism and Dutch neoplasticism resulted a endeavour to seek radical forms of imaging.
Another characteristic of the emerging artistic collaboration was concern for new forms of modern civilizations, defined by experience of living in the big city, in an industrialized country. Discussions were often held in Pełczyński's studio on Szczygła 10 street with the participation of Stażewski, Szczuka, Rafałkowski and Nicz-Borowiakowa.
The first issue of Blok was published on March 8, 1924. A few days later there was a group exhibition held in a significant place - a Laurin-Clement car showroom in Warsaw, near Mazowiecka street. It featured the first members of Blok: Henryk Berlewi, Katarzyna Kobro, Karol Kryński, Witold Kajruksztis, Henryk Stażewski, Władysław Strzemiński, Mieczysław Szczuka, Mieczysław Szulc and Teresa Żarnowerówna. Shortly after, they were joined by Jan Golus, Maria Nicz-Borowiakowa and Aleksander Rafałowski. The first issue of the journal was probably the catalogue for the exposition. By referring to the reproduced pieces and the information about the event which presented works of "Cubists, Constructivists and Supermatists" it is assumed that it was equally eclectic as the Vilnius exhibition. Geometrical forms, schematization and simplification both in abstract and representational paintings were the common elements of the presented works.