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Exter employed pochoir, a labor-intensive stencil method that allows for precise, flat areas of color. The result is sharply defined shapes with crisp edges, free from brushwork or gradation. Bold hues—blue, red, and black—dominate, reinforcing the geometric abstraction. The style merges Cubist fragmentation with Constructivist economy, reflecting her background in stage design and her interest in integrating art with industrial aesthetics.

The album was produced during Exter’s years in Paris, where she maintained ties with avant-garde artists including Picasso and Braque. Though her earlier work in Russia and Ukraine was rooted in Cubo-Futurism, this series reflects her adaptation to European modernist circles. The prints were likely made for limited circulation among collectors and artists. The Museum of Modern Art acquired the album as part of its early commitment to documenting international modernist print practices.

In the late 1920s and early 1930s, many European artists turned to printmaking as a means of reaching wider audiences and exploring abstraction beyond canvas. Pochoir, long used in fashion and decorative arts, gained renewed interest among modernists for its precision and reproducibility. Exter’s album situates her within this trend, bridging her Russian avant-garde roots with Parisian graphic design circles.

Exter’s pochoir series remains a significant example of how female modernists expanded the boundaries of printmaking beyond illustration. Her integration of architectural form, movement, and color influenced later generations working in graphic design and stage production. Though less widely known than her male contemporaries, her work contributed to the visual language of interwar modernism in both Europe and the United States.