For 1920s urbanites, city streets were conceived as microcosms of all that was new and exciting. They were also contested spaces - provocative, divisive thoroughfares and showcases for the display of cultural, political and economic differences. For Serbian interwar artists the streets of Belgrade served as artistic metaphors for a kind of territorial dislocation and the peripheral modernism of the East. This series of four essays focuses on the phantom architecture produced by both male and female artists working before 1940. The work, beautifully emerges into the modernist era and brings with it issues of design, heritage and the present moment.