This article asks about the role of artistic singularity in Alexander Rodchenko's theory and practice. For this purpose, three texts and a photograph of the artist's constructivist period are analyzed and interpreted. Firstly, letters from his stay in Paris are reviewed, when he had already given up painting and explores photography; then, we examine an article published in the LEF magazine, where he differentiates the aestheticist ideal of painting photographic work; and, finally, an autobiography where he traces a link from technical art to children's experience of magic and spectacle. The photograph is the famous The Girl with the Leica. The documents seem to show a conception of modern art based on the appropriation of industrial development, but that reaffirms the particular gesture of the artistic experience.