The subject of this study deals with the style, methodological foundations and motivations of Oskar Cepan's interpretations of the abstract works of art. The marginal position of his essays within the Slovak art criticism of the decade does not mean that they are historically unimportant or of lower quality. One must consider them within the officially-favored notion of art and cultural policy in communist Czechoslovakia, which did not support the theory and practice of abstract art. Furthermore, the monographical studies on works of Rudolf Fila, Marian Cunderlik and Vladimir Tatlin were prohibited from being published at the beginning of the 1970s. One of the study's initial proposals is an examination of the relation of avant-garde principles to the formalist method, focusing on composition, structure, the material qualities and the function of the artwork. Second one is an analysis of Oskar Cepan's most important studies provided in comparison to art criticism of the decade and research of other scholars in the field of Russian avant-garde in Czechoslovakia. In particular, the author is concentrated on the analogies between his theory of modern literature, published in book 'Literary Bagatelles', and the steps of his interpretation regarding abstract art. On one hand, Cepan in his writings developed something like a realm of freedom; on the other hand, although rather marginal and fragmentary, his theory represents an interesting contribution to the comparative study of the visual images and words for the period of the late modernism in East-Central Europe.