"We are destroying your old world," declared Futurist poet, Vladimir Mayakovsky, to a captive audience at The Moscow Society of Art Lovers in 1913. Indeed, with Tolstoy and Dostoevsky thrown "overboard from the ship of Modernity," Russian Futurism exhorted a break with the aesthetic confines of preceding generations and an embrace of the urbanism and technology of the early 20th century, epitomized in their aptly named manifesto, "A Slap in the Face of Public Taste" ("Poshchechina obshchestvennomu vkusu"). Iconoclastic, dynamic, and provocative, Futurists revolutionized the very fundamentals of literature and art: consonants became color and texture, vowels became time and space, and geometric planes became pools of pure intuition. Through Kazimir Malevich’s advent of Suprematism, a method of non-objective creation, and Viktor Khlebnikov’s experimentation with zaum, or 'beyonsense' language, both artists invented novel dimensions to expand the human perceptual apparatus beyond the confines of the phenomenal world and, in doing so, freed creative intuition from the shackles of utilitarian reason. This project queries the role of dimensionality in these figures' respective approaches to a revolutionary reconceptualization of art as such. Both Futurists thus imbue their art with the revolutionary potential to escape existing dimensions and model new phenomenological frameworks: "economy" and zaum, respectively. Through an interdisciplinary comparison of these manifestations of dimensionality—via both authors' theoretical writings, Malevich's visual works, and Khlebnikov's poetry—this project argues that Malevich and Khlebnikov's invention of novel dimensions succeeds in expanding the human perceptual apparatus via two disparate, though interwoven, paths of creative intuition which lead beyond the utilitarian world into a nebulous cosmos of primordial, spiritual, and transcendental significance.