Gough´s Constructivism is, like all else in early Soviet Russia, a laboratory where everything pertaining to art is subjected to “experimentation to the point of exhaustion”, most significantly the role of the artist in the collective society to come

In the 90´s MoCab´s leader were part of a close-knit group of critics and curators who eschewed nationalist kitsch, yet never shied away from critiques of the latent racism and nationalisms in the anti-Milosevic camp, or from the fact that Serbia´s dissident cultural producers frequently relied on Western support