Höch became familiar with knitting, crocheting, and embroidery while working as a designer in Berlin, creating handwork patterns for crafting magazines. Cut-and-pasted images met elements of the applied arts in her pieces, whether in the needlepoint diagram evoked in Collage II or the texture of thread suggested by the flower petals of Watched. In these works, Höch feminizes the Dada movement’s engagement with the everyday by pairing craft techniques, traditionally seen as women’s work, with the avant-garde strategy of photomontage—the cutting and recombining of mechanically reproduced images.
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