The German Dada artist Hannah Höch is considered one of the most significant artists of photomontage. What is less discussed is Höch’s continued use of other mediums, particularly watercolor, and how the two mediums of watercolor and photomontage are combined in many of her artworks.

Berlin Dada criticized bourgeois artistic groups and mediums. The Berlin Dadaists Richard Huelsenbeck and Raoul Hausmann called for new ways of engaging with the medium of painting, which resulted in the group’s development of photomontage. However, other Dada artists such as George Grosz, Kurt Schwitters, Francis Picabia, and Hausmann, continued to engage with the traditional medium of painting.

Höch was integral to the development of photomontage. Like her Dada contemporaries, she also experimented with painting. She developed the new hybrid medium of photomontage-painting. I argue that Höch’s photomontages are better understood as photomontage-paintings. Höch’s photomontage- paintings combine the mediums of (watercolor) painting and photomontage into a singular medium. My reexamination of these works as photomontage-paintings presents a more accurate view of Höch as a multidimensional artist.