out that Grosz, Heartfield and Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims. At the same time, Hausmann started to experiment with sound poems he called "phonemes" and "poster poems", originally created by the chance lining up of letters by a printer without Hausmann's direct intervention. Later poems used words which were reversed, chopped up and strung out, then either typed out using a full range of typographical strategies, or performed with boisterous exuberance. Schwitters' Ursonate was directly influenced by a performance of one of Hausmann's poems, "fmsbwtazdu", at an event in Prague in 1921. Der Dada: a new periodical After Hausmann contributed to the first group show, held at Isaac Neumann's Gallery, April 1919, the first edition of Der Dada appeared in June 1919. Edited by Hausmann and Baader, after receiving permission from Tristan Tzara in Zurich to use the name, the magazine also featured significant contributions from Huelsenbeck. The periodical contained drawings, polemics, poems and satires, all typeset in a multiplicity of opposing fonts and signs. At the beginning of 1920, Baader, the "Oberdada", Hausmann, the “Dadasoph", and the "Welt-Dada" Huelsenbeck undertook a six-week tour of Eastern Germany and Czechoslovakia, drawing large crowds and bemused reviews. The programme included primitivist verse, simultaneous poetry recitals by Baader and Hausmann, and Hausmann's "Dada-Trot (Sixty-One Step)" described as 'a truly splendid send-up of the most modern exotic-erotic social dances that have befallen us like a plague...' The First International Dada Fair, 1920 Organised by Grosz, Heartfield and Hausmann, the fair was to become the most famous of all Berlin Dada's exploits, featuring almost 200 works by artists including Francis Picabia, Hans Arp, Ernst and Rudolf Schlichter, as well as key works by Grosz, Höch and Hausmann. The work Tatlin At Home, 1920, can be clearly seen in one of the publicity photos taken by a professional photographer; the exhibition, whilst financially unsuccessful, gained prominent exposure in Amsterdam, Milan, Rome and Boston. The exhibition also proved to be one of the main influences on the content and layout of Entartete Kunst, the show of degenerate art put on by the Nazis in 1937, with key slogans such as "Nehmen Sie DADA Ernst", "Take Dada Seriously!", appearing in both exhibitions. The Mechanical Head The most famous work by Hausmann, Mechanischer Kopf (Der Geist Unserer Zeit), "The Mechanical Head (The Spirit