direct criticism of the failed attempt at democracy imposed by the Weimar Republic. Cut with the Kitchen Knife is "an explosive agglomeration of cut-up images, bang in the middle of the most well-known photograph of the seminal First International Dada Fair in 1920" (Hudson). This photomontage is an excellent example of a piece that combines these three central themes in Höch's works: androgyny, the "New Woman" and political discourse. It combines images of political leaders with sports stars, mechanized images of the city, and Dada artists. The Beautiful Girl (1920) "The New Woman of Weimar Germany was a sign of modernity and liberation" (Lavin). Women in Weimar Germany in theory had a new freedom to discover social, political, and self-definition—all areas heavily addressed by Höch. Despite this, there were still many issues with the socioeconomic status of women. Women were given more freedom, yet in a way that seemed to be predetermined for them. They were still restricted to certain jobs and had the less employment benefits than their male counterparts. Analysis of Höch's piece Beautiful Woman shows the construction of the archetype of the "New Woman". The piece combines motifs of the ideal feminine woman with car parts. In the upper right corner there is a woman's face with the eyes of a cat. Along with industrialization comes the opportunity for women to be more involved in the workforce. While this opportunity was exciting for women, it was also frightening—symbolized by the cat eyes staring down at the image. This image shows that although women were excited about the idea of the "New Woman" and the freedom this lifestyle might bring, it was a freedom that was still constructed by men, who still had most of the power in society. Marlene (1930) This piece alludes to an ambiguous sexual identity of the subject. The image depicts two men looking upward at a pair of legs clad in stockings with high heels atop a pedestal. This pedestal symbolizes traditionalism, while the legs show sexuality triumphing over classical architecture (which would have been revered by the Nazis). The lips in the upper right corner show a feminine sexuality that is kept from the male gaze. (Lavin). For the viewer, the piece can provide the concept of a utopian moment that opposes gender-hierarchies. "Her androgynous images depict a pleasure in the movement between gender positions and a deliberate deconstruction of rigid masculine