Until World War I, Hannah Höch studies art in Berlin before joining the Red Cross. As she returns to school in 1915, she meets Raoul Haussmann who introduces her to the Dada group in 1919. She rapidly develops innovative photomontage techniques that denounce mass culture and the representations of women she reconsiders with collages of hybrid bodies - her Dada dolls - that define a new femininity. Although the Dadaists proclaimed to give equal chances to women artists, Hannah Höch has to fight to be considered more than a ‘sandwich, beer and coffee supplier’ - a misogynistic hypocrisy she denounces in her art pieces such as her partner, Raoul Haussmann’s portrait, Da-Dandy, in 1919. During World War II, she remains in Germany, hidden in her home although the Nazis have branded her as a degenerate. It took time to dislodge the German artist’s reputation as ‘Dada’s good girl’, the Louise Brooks-like muse of the men’s club, but from the late 1960s, scholars finally recognized her as a key dadaist and probably as art’s original punk.