Adrian Hamilton in The Independent:
“Hannah Höch the Dadaist” is the way that this German artist is usually pigeon-holed in art history. And indeed she was a leading member of the movement in Berlin in the 1920s, full of the calls for artistic revolution, the rejection of all that had gone before, the hectic partying and the collage works which made this movement so energetic and so productive.
…Born in 1889, Hannah Höch went through two world wars and the prolonged periods of economic distress and rebuilding which were their consequences. The experiences were quite different. In the intellectual ferment of Germany's Roaring Twenties which followed the First World War, the mood (except among those who had fought in it) was one of release from the past mistakes and clear horizons of a new world to be created out of its ashes. Hoch, who always tended towards anarchism rather than the communism of many in her circle, responded at first with some wonderfully witty and scabrous photomontages attacking bankers and ridiculing men in the family and in power. Adding watercolour and ink to collage, she seizes the spirit of the times with some joyously satirical collages of Coquette and the Singer and some open explorations of her own complicated sexuality.
A 10-year relationship with the Dutch Dadaist poet, Mathilda Brugman, and visits away from Berlin brought a change in mood as aesthetics. Höch became increasingly interested in collages as a means of representing the fragmentary and multi-faceted nature of a life, particularly a woman's. In a remarkable, and justly famous, series, (Untitled) [From an Ethnographic Museum], she uses the photographic images of primitive statues in museums and from magazines and pastes on contemporary heads and body parts. The result is an astonishingly subtle and challenging portrayal of what makes up the human and gender in the modern world. It's quite brilliant but also intriguing in its layered meaning.