Starting in 1965, Radoslav Kratina continuously worked with a geometric vocabulary and the principle of an artwork’s transformability. He did relief or spatial structures of small geometric bodies, at first of wood and later, starting in the 1970s, of metal. His structures are moveable and changeable to an endless number of compositional variants. The possibility of altering the artwork seeks to motivate the viewer. He painted the wooden elements with basic tones of industrial paint or just in white. The monochrome finish of his objects from the late 1960s highlights the subtle play of light and shade on the surface of the details of his geometric structures.