Trained eyes on the Soviet machine

Rodchenko's photographs helped transform the medium's vocabulary to fit the Soviet propaganda machine but the 680 prints on show also include his circle's diverse interpretations of the era. They open to Twenties salon-like scenes where Rodchenko and his artist wife Varvara Stepanova, poet Mayakovsky and his lover/muse Lilia Brik, are relaxing or working in studios or on Moscow's streets; life is still relatively easy.

Rodchenko's shots taken from high vantage points led a trend but other photographers stayed at eye-level to detail fashions, interactions and moods. The 1930 arrival of the portable Leica camera transformed the process of taking photographs; its popularity is captured through self-portraits with camera. Leicas beautifully portray the new Constructivist architecture - angular and sculptural, Soviet equivalents of Bauhaus, inviting explorations with light and shade.

During Stalin's Thirties, many photographers were sent to far-off sites; Simon Fridland cinematically lit the women welders in his shipyard series; Rodchenko went reluctantly to the freezing White Sea Canal project and photographed brutalised workers; Georgii Zelma and Max Alpert were in Central Asia, where their reportage of local traditions is remarkable and poetic. In Moscow, those shooting the mass parades clearly drew on the Constructivists' basis in geometrical design. This astonishing exhibition is a reminder of the lasting influence of this era of photography; just look at Shelter's recent "Vertical Rush" poster.

Until March 19. Information: 020 7630 9585, artsensus.com

Rodchenko and his Circle: Constructing the Future through Photography
Art Sensus, SW1