Brodovitch’s use of image and text is similar to the techniques that Lissitzky used in the book, For the Voice. Lissitzky himself said, “My pages stand in much the same relation to the poems as an accompanying piano to a violin. Just as the poet in his poem unites concept and sound, I have tried to create an equivalent unity using the poem and typography.” Williams explains in his book, Alexey Brodovitch, that Lissitzky’s application of simple geometric form as an organizing principle and the effective use of white space on a spread were key influences on Brodovitch’s work for Harper’s Bazaar magazine. The figures and placement of the women in Brodovitch’s work is reminiscent of the geometric forms of Lissitzky. In Fluidity of Space, images created by these two artists are re-imagined together, complementing each other’s forms and directing the reader through the pages. The geometric structures of Lissitzky seem to inform and create dialogue with the sculptural body images of Brodovitch’s photography. The flow through these pages allows the reader to have a cinematic experience on two-dimensional surface that had been preiously achieved, first by Lissitzky and later by Brodovitch.