Similarly, if one compares Serra’s sculptural-architectural constructions to Vladimir Tatlin’s model of his proposed Monument to the Third International (1919-20), celebrating the proletarian Russian Revolution and the new religion of Communism, one sees that Serra’s constructions lack social and political import. They are mausoleums of pure art, without the imaginative and psychosocial depth and expressive complexity of the best traditional and early avant-garde art. They are abstract art in a geometrical dead-end: spiritually bankrupt abstraction, abstraction as empty grandeur, smugly self-satisfied and arrogantly self-deluded abstraction.