In the introduction to her beautifully illustrated and well-written history of interwar modern architecture in Serbia, Ljiljana Blagojevic remarks that the architects of Belgrade's modernist circles "were neither friends nor disciples of any of the masters of the European modern movement, they knew not their 'gods' in person, they followed only reflections and translations" (p. x). Working with the themes of marginality, authenticity and identity formation, Blagojevic argues convincingly that modernity in Serbia was expressed formally through a borrowed, western European style that masked traditional building methods and spatial arrangements behind fashionable facades.