However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. At "0.10" she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. In 1916 she began to paint completely abstract Suprematist compositions, but the title "Painterly Architectonics" (which she gave to many of her paintings) suggests that, even as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong color have the objective presence of actual space and materials.