and feminine identities" (Lavin). These ideas were radical at the time when Höch raised them, but are still in the process of being addressed today. Androgyny can be viewed as a utopian ideal in Höch's works; in addition it relates to some of the radical leftist ideas in her works and the political discourse surrounding them. Ethnographic Museum Series (1924–1930) Höch created an expansive series of works titled the Ethnographic Museum Series after a visit to an ethnographic museum. Germany had begun colonial expansion into African and Oceanic territories by the 1880s, which lead to an influx of cultural artifacts into Germany. Höch was inspired by the pedestals and masks present in the museums, and began incorporating them into her art. Mother (1930) Ethnographic Museum Series (1924–1930) This piece is a photomontage, part of Höch's Ethnographic Museum Series, that mainly utilizes the photo of a pregnant, working class mother. Höch effaces the woman with a mask from the Kwakwakaʼwakw, or the Kwakuti Indian tribe, on the Northwest Coast. She pastes a woman's mouth over the bottom of the mask, and a single eye over one of the eye holes. The image is part of an ongoing critique by Höch of Paragraph 218, a law outlawing abortion in Germany at the time. Death Dance and Time of Suffering Series Höch also executed two series around 1943, Death Dance and Time of Suffering. Death Dance consists of three works, titled Death Dance I, Death Dance II, and Death Dance III. This series is primarily watercolor and pencil. The images show individual figures without hair or defining features, in long gray shifts, filing across barren pastel landscapes. The Time of Suffering series is black and white but contains similar figures to the Death Dance series. The series, comprising two works titled Time of Suffering I and Time of Suffering II, shows the figures walking through a cemetery towards a grim reaper, and a line of people leading up into the sky. Strange Beauty II (1966) Höch returned to the female figure in the 1960s after a long period where she favored surrealism and abstraction. Strange Beauty II is a part of this return, showing a woman surrounded by feathery pink fauna. The woman's face is covered by a Peruvian terracotta trophy head. In this piece, Höch effaces the figure of the New Woman and replaces her head with a tribal mask, turning the