Suprematism is the most radical reduction in early-20th-century art: pure geometric forms — square, circle, cross — on white grounds, declaring representational painting finished. Malevich's 1915 *Black Square* hung in the icon corner at the 0.10 exhibition announced a new absolute.

The palette is doctrinally severe: black, cadmium red, yellow, cobalt blue, and white. No ornament, no narrative, no depth illusion — only the supremacy of pure feeling through geometry.