She was a central figure in Constructivist avant-garde in the early 20th century alongside El Lissitzky, Alexander Rodchenko other and her husband Gustav Klutsis.

In 1930 she designed a poster for International Working Women's Day, employing avant-garde techniques combined with typography, lithography, and photomontage.

After the Bolshevik Revolution of 1917, political unrest grew and the past revolutionary spirit seen in Russian art turned into propagandist work.

[4] In a diary entry by Kulgalina dated 1935, she documented the frustration and difficulty in making posters for Stalin and the government, only for them to be chosen under strict guidelines promoting censorship in her work.

[4] Though Klutsis and Kulagina are known for these official pieces for the government, they also ran a personal art and photography practice, utilising styles such as superimposition and photomontage, often portraits of each other.

She used figurative painting and photomontage on this poster to portray female soldiers, peasants, farmers, and a group of women in the streets fighting with police.