Under Suprematism, I understand the supremacy of pure feeling in creative art.

To the Suprematist the visual phenomena of the objective world are, in themselves,
meaningless; the significant thing is feeling, as such, quite apart from the environment
in which it is called forth...
Objectivity, in itself, is meaningless to him; the concepts of the conscious mind are
worthless.
Feeling is the determining factor and thus art arrives at non-objective representation
at Suprematism.

Kazimir Malevich, The Non-Objective World

Future Planits (Houses) For

Earth Dwellers (People)

Lissitzky's more inclusive view of utility, like that of the aborted Working Group of
Objectivists at iNKhuK in the spring of 1921, defends artists from what he regarded as
the narrow utilitarianism of the Productivists and declares the right of artists
themselves to decide on the purpose or goal of the "expedient" (tselesoobraznyi) new
objects that they would make. Khan-Magomedov takes up Lissitzky's view of the
importance of autonomous artistic creativity when he defends the inventiveness of the
INKhuK artists in the face of what he sees as the destructive effect of the Productivist
theorists, and especially when he devotes close historical attention to the previously
neglected work of the Objectivists.
Kiaer, Imagine No Possessions