Univerzalna transhistorična tipizacija avantgard Petra Bürgerja, ki jo sam uvidi kot razprto, je mogoča na podlagi njegovih izhodišč, če jo povežemo z definicijo temporalnosti avantgard Petra ...Osborna. Razmerje lahko preizkusimo na primeru več desetletij dejavnega avantgardnega kolektiva v povezavi z zgodovinsko avantgardo. Odločili smo se za primer manifestov NSK in IRWIN ter IRWIN-ovega zgodovinjenja zgodovine Malevičeve umetnosti. Smrt je tako pri Maleviču kot pri IRWIN splet časov, ki omogoča prehod materialnega v idejno. Ugotovili smo, da tisto, kar Bürger imenuje umetniški material, obstaja kot z umetnostjo inicirana temporalizacija relacij. Glede na to je avantgardna montaža estetski način povezovanja, je idejni proces. Montaža kot atribut avantgarde je estetsko funkcionalizirana ideja.
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