from contemporary magazines. Her works from 1926 to 1935 often depicted same-sex couples, and women were once again a central theme in her work from 1963 to 1973. Her most often used technique was to fuse together male and female bodies. This fusion existed in order to give the attributed power of a man to a woman, as well as blur the lines of gender attributed actions. She also used historically feminine mediums such as embroidery and lace in her collages to highlight gendered associations. Höch also made strong statements on racial discrimination. Her most famous piece is Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands ("Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany"), a critique of Weimar Germany in 1919. This piece combines images from newspapers of the time mixed and re-created to make a new statement about life and art in the Dada movement. From an Ethnographic Museum (1929), one of Höch's most ambitious and highly political projects, is composed of twenty photomontages that depict images of European female bodies with images of African male bodies and masks from museum catalogues, creating collages that offer "the visual culture of two vastly separate civilizations as interchangeable—the modish European flapper loses none of her stylishness in immediate proximity to African tribal objects; likewise, the non-Western artifact is able to signify in some fundamental sense as ritual object despite its conflation with patently European features." Hoch created Dada Puppens (Dada Dolls) 1916. These dolls were influenced by Hugo Ball, the Zurich-based founder of Dada. The doll's costumes resembled the geometric forms of Ball's own costumes worn in seminal Dada performances. Important pieces Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919) Dada as a movement was inherently political in nature. Dada artists often used political satires to address the issues of the time. They attempted to push art to the limits of humanity and to convey the chaos in post-war (World War I, which did not yet have this title) Germany. "Many of Höch's overtly political photomontages caricatured the pretended socialism of the new republic and linked female liberation with leftist political revolution" (Lavin). Perhaps Höch's most well known piece Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic symbolizes her cutting through the patriarchal society. The piece is a