The article is devoted to a centennial of Eccentrism, a collection of manifestos by the artistic group FEKS (The Factory of the Eccentric Actor), created and published in 1922. The author focuses on the problem of the collection’s originality as a manifesto and the personalities of its individual authors: G. Kozintsov, G. Kryzhitsky, L. Trauberg, and S. Yutkevich. The history of their writing and the manifestos themselves are considered from the viewpoint of FEKS’s nascent aesthetic platform and in a broader context of the manifesto tradition of the Russian avant-garde movement. The article offers a hypothesis that Eccentrism was conceived by the group’s founders as a kind of FEKS periodical, but that project was doomed once Kryzhitsky and Yutkevich left the group in the summer of 1922. Further analysed are each of the four articles in the collection, their interplay in getting the group’s message across, and the role of each of the four directors in the genesis of FEKS. All four contributions create a consistent message; Eccentrism combines a sharp and rhythmic language, typical of avant-garde manifestos, with a snappy imperative tone and juvenile self-advertisement.