Christiana Lodder confirms in Art of the Soviets this revolutionary step in including art as a major collation within the government when she explains "Lenin's Plan For Monumental Propaganda [is] immensely important because for the first time art was directly harnessed to the service of the state and its ideology" (16). As a result of Lenin's Plan, historians can note a revolutionary idea, prophesized through Marxism ideology, conceded and carried out.
Avant-garde artist Igor Grabar recloection when meeting Lenin can best explain Lenin's Plan For Monumental Propaganda when he said "I've just come from Vladimir Ilich He intends to decorate Moscow's squares with statues and monuments to revolutionaries and the great fighters for socialism" (Lodder 19). Lenin's Plan, did in fact do more than just advocate a celebration commandeering those who fought in the Revolution of 1917. His plan embraced the arts and drew up concrete foundational concepts to propagandize new communist ideology and implement it into the hearts and minds of the people. In 1918 Lenin and the Bolsheviks were in full control; they had won the revolution and now had the ability to erect momentous statues and buildings to celebrate a Revolution that would change the entire world forever. .
Known as the 'Concerning Monuments of the Republic' Lenin signed on April 12, 1918, 'The Removal of Monuments Erected in Honor of the Tsars and their Servants and the Production of Projects for Monuments to the Russian Socialist Revolution', in which former monuments of Tsarist Russian would torn down and replaced with "outstanding persons in the field of revolutionary and social activity, philosophy, literature, science and art" (Bown 20). These statues consisted of Marx, Engels, Campanella and Plekhanov, each devoted with a brief description of their life engraved upon a plaque. .
Implementing Lenin's plan, the Russian avant-garde began to draw plans to decorate all major cities in Russia.