their reality, and her workplace provided her with many of the images that served as raw material for her own work. She was also critical of the institution of marriage, often depicting brides as mannequins and children, reflecting the socially pervasive idea of women as incomplete people with little control over their lives. Höch worked for the magazine Ullstein Verlag between 1916 and 1926 in the department which focused on design patterns, handicrafts, knitting and embroidery, artistic forms within the domestic sphere which were considered appropriate for women. "The pattern designs Höch created for Ullstein's women's magazines and her early experiments with modernist abstraction were integrally related, blurring the boundaries between traditionally masculine and feminine modes of form and expression" (Makholm). She wrote a Manifesto of Modern Embroidery in 1918, which spoke to the modern woman, empowering her to take pride in her work. "She now drew on this experience and on a large body of advertising material she had collected, in images that were unprecedented in their insights into the way society 'constructs' women" (Hudson). Höch considered herself a part of the women's movement in the 1920s, as shown in her depiction of herself in Schnitt mit dem Küchenmesser DADA durch die letzte Weimarer Bierbauchkulturepoche Deutschlands (1919–20). Her pieces also commonly combine male and female traits into one unified being. During the era of the Weimar Republic, "mannish women were both celebrated and castigated for breaking down traditional gender roles." In this artwork Hoch metaphorically equates her scissors, used to cut images or her collages, to the kitchen knife. This is used to symbolize cutting through the dominant domains of politics and public life in Weimer culture. Her androgynous characters may also have been related to her bisexuality and attraction to masculinity in women (that is, attraction to the female form paired with stereotypically masculine characteristics). Works Höch was a pioneer of the art form that became known as photomontage and of the Dada movement. Many of her pieces sardonically critiqued the mass culture beauty industry of the time, then gaining significant momentum in mass media through the rise of fashion and advertising photography. Many of her political works from the Dada period equated women's liberation with social and political revolution. Her work displays the chaos and combustion of Berlin's visual culture from the female perspective. In particular, her photomontages often critically addressed the Weimar New Woman, collating images