work due to inherent sexism in the movement. Her work added "a wryly feminist note" to the Dadaist philosophy of disdain towards bourgeois society, but both her identity as a woman and her feminist subject matter contributed to her never being fully accepted by the male Dadaists. Like other Dada artists, Höch's work also came under close scrutiny by the Nazis as it was considered degenerate. The Nazis put her 1932 intended exhibition at the Bauhaus (a German art school) to a stop. They were not only offended by her aesthetic, but also by her political messages and by the mere fact that she was a woman. Her images portrayed androgynous individuals, which the Nazis despised. Nazi ideology appreciated artwork that portrayed the ideal Aryan German man and woman. The images Höch used often contrasted this look, or used it to make a point about society (such as in the piece "the Beautiful Girl"). The Nazis preferred a traditional clear rational style of artwork that did not require deep thought or analysis. They felt that the chaos of the Dada style bordered on pathological. Höch went into seclusion during the Nazi years and was later able to return to the art world after the fall of the Third Reich. Photomontage "Höch's photomontages display the chaos and combustion of Berlin's visual culture from a particularly female perspective" (Makholm). "Höch was not only a rare female practicing prominently in the arts in the early part of the twentieth century—near unique as a female active in the Dada movement that coalesced in her time—she also consciously promoted the idea of women working creatively more generally in society. She explicitly addressed in her pioneering artwork in the form of photomontage the issue of gender and the figure of woman in modern society" (The Art Story). In these montages, Höch gathered images and text from popular forms of media, such as newspapers and magazines, and combined them in often uncanny ways, which were able to express her stances on the important social issues of her time. The fact that images she included in her pieces were pulled from current newspapers and magazines gave her messages validity. The power of the works came from the intentional dismemberment and reconstruction of the images. This alludes to the notion that current issues can be viewed through different lenses. This technique was originally thought of as extremely leftist and