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This article examines the avant-garde reformulation of the nature–culture dichotomy. Within avant-garde discourse, the traditional opposition between the organic and the mechanical—and, by extension, between the body and the machine—evolves into a specific dialectical form based on the principle of juxtaposition-in-identity. In this framework, a metaphysics of corporeality comes into conflict with an instrumentalist understanding of the organic. The analysis identifies a key conceptual shift in the 1920s: the notion of the body is superseded by that of the organism, which is subsequently transfigured into the machine. Focusing on Russian painting from the 1910s to the early 1930s, this study employs a comparative and typological methodology. It analyzes works by Mikhail Larionov, Mikhail Matyushin, and Pavel Filonov in relation to those of Konstantin Redko, situating this analysis within a broader art-historical and intellectual context. The research traces and exemplifies a pivotal transition in visual art: the shift from the early avant-garde mythopoetics of the machine–human to the late-1920s construct of the human–machine, as theorized in biomechanics and gesture studies. The article foregrounds electricity as a central pictorial motif, arguing that it served as a powerful visual and conceptual medium for synthesizing the organic with the mechanical and the mythological with the ideological. Ultimately, it posits that the internal social logic of this aesthetic shift contributed to the formation of the totalitarian body politic in Stalinist Russia.