revolutionary, but by the 1930s, it had become an accepted mode of design linked with modernity and consumerism. Thus began the notion that mass culture and fine arts could be combined in a meaningful way. The ambiguity in her work was integral to the way which she addressed issues of sexuality and gender. These complex constructions of genders allow women to embrace both their masculine and feminine attributes. This leads to an intensified sense of individualism. Photomontage is a large part of Höch's legacy as an artist. Women in Dada While the Dadaists, including Georg Schrimpf, Franz Jung, and Johannes Baader, "paid lip service to women's emancipation," they were clearly reluctant to include a woman among their ranks. Hans Richter described Höch's contribution to the Dada movement as the "sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money." Raoul Hausmann even suggested that Höch get a job to support him financially, despite her being the only one from her close circle to have a stable income. On her exclusion and the sexism of the Dadaists, Höch responded, "None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.” Höch was the lone woman among the Berlin Dada group, although Sophie Taeuber, Beatrice Wood, and Baroness Else von Freytag-Loringhoven were also important, if overlooked, Dada figures. Höch references the hypocrisy of the Berlin Dada group and German society as a whole in her photomontage, Da-Dandy. Höch also wrote about the hypocrisy of men in the Dada movement in her short essay "The Painter", published in 1920, in which she portrays a modern couple that embraces gender equality in their relationship, a novel and shocking concept for the time. This is an example of how Höch was able to transcend one particular medium and convey her social ideals in many forms. Höch's time at Ullstein Verlag working with magazines targeted at women made her acutely aware of the difference between women as portrayed in media and