Politically radical artists in the context of Nazi Germany

Does the highlighted sentence mean "In effect, the relationship of the Docklands posters with the historical avant-garde changed from USSR related approaches and contents to Nazi Germany related approaches and contents", that is "Docklands posters were more reminiscent of Nazi Germany related photomontages than USSR related photomontages"?

Context:

The Docklands posters were produced in two cycles: the first designed to develop awareness of what was happening to the area; the second to develop a historical perspective, showing how Docklands residents had had to struggle for better conditions in the past. The posters were produced from photographic collages and were highly reminiscent of the anti-Nazi photomontage work of German artist John Heartfield in the late 1920s and early 1930s. This was especially evident in the critique of ‘big business’ in the first cycle, 1980–1984, which is thematically related to Heartfield’s The Real Meaning of the Nazi Salute (1933), in which Hitler’s saluting hand is seen taking a backhander from big business. This image, along with most of Heartfield’s photomontages, was published in AIZ, a magazine that adopted modernist approaches and campaigned relentlessly against Hitler and the Social Democrats. In effect, the relationship of the Docklands posters with the historical avant-garde extended beyond practices associated initially with the USSR to those developed by politically radical artists in the context of Nazi Germany. However, what was essentially at stake in both of these historical contexts, as well as in the Docklands poster campaign, was the need to communicate quickly and effectively.