What kind of art, if any at all, would anyone make after a claim that art is dead? It would be art full of fragments reconciled together to make something new out of it. Fragments signify demolition and fractionation of the society in Weimar Germany in the Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany (1919) by Hannah Höch. This essay will consider cultural critique embodied by this work in order to situate the broader concerns of Dada [fig. 1]. It will start by outlining the history and intentions surrounding the emergence of Dada. 

The essay discusses only concerns and critique around female equality with relation to a German concept of a ‘New Woman’, which is key to addressing the challenges surrounding female equality in Weimar Germany in the period preceding 1919. This essay argues that it is Nietzchian thinking that is at the base of Dada as a movement, and that it is precisely for that reason that women artists have been discriminated against despite Dada’s claim of having a strong ethical and human purpose.