In 1915, Rodchenko began experimenting with geometric structures and developing his own abstract art system, different from what Kazimir Malevich and other avant-garde artists were doing. In one of his letters to Varvara Stepanova, the artist wrote: I have found what to paint, and I think it will be fresh and bold.

In 1918, Rodchenko made the circle his main shape for painting, and created with it a whole series of works entitled Color Concentration. The Construction is one of them. He experimented with the effect of glow by highlighting certain elements of his compositions with a white rim. In many ways, all this was done to be in opposition to the Suprematism movement artists, who Rodchenko considered his main rivals. Malevich defined Suprematism as the creation of pictorial forms that are the goals in and of themselves, that is, the art of painting as such: he and his fellow artists abandoned the subject, motif, and meaning, in favor of pure forms. For Rodchenko, the dominating pillar of a painting was the texture, and each element, whether it was a line or a circle, had its own a special meaning. 

It was the Construction that represented the new Soviet art in Germany in 1922 and at the Venice Biennale in 1924. Then it spent many years in collections of various museums, and finally it was placed in the P.S. Gamzatova Dagestan Museum of Fine Arts. In 1992, there was an attempt to steal the Construction by cutting the canvas out of the stretcher, which, fortunately, failed. The painting was restored and returned to the permanent exhibition.