 Two distinct threads emerged, the first was encapsulated in Antoine Pevsner's and Naum Gabo's "Realist manifesto" which was concerned with space and rhythm, the second represented a struggle within the Commissariat for Enlightenment between those who argued for "pure art" and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin, a more socially-oriented group who wanted this art to be absorbed in industrial production.A split occurred in 1922 when Pevsner and Gabo emigrated.The movement then developed along socially utilitarian lines.