This article examines the fate of innovative artistic ideas and aesthetical projects of the 1920s. It studies experience of avant-garde artists in their theoretical search for harmony of being, spirit, sense and creativeness. Two radically new aesthetical concepts could serve this goal: metaphysical and practical. Their similarity and ideal-methodological difference are reviewed, the reason behind the latter is interpreting “life”, both in cosmic and social worlds. Metaphysical subjectless aesthetics followed a path of creative transformation of human being through the development of a new conscience. Practical aesthetics implied an active inclusion of human being into practice-functional interaction with new ways of material form-creation. The article uncovers characteristics of utopianism in the idea of art having a decisive role in achieving the ideal perfection of the world and human, interpreting “perfection” as the highest stage of internal integration of human being and achieving wholeness of humanity.