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ArtThere is a gratifying modesty in how “The Photomontages of Hannah Höch”[1] at the Museum of Modern Art has been properly, if not perfectly, scaled to its subject. Hannah Höch (1889–1978) was the sole woman artist associated with Berlin Dada, a group known for its strident politics and anti-art stance. In contrast to renowned Dadaists such as George Grosz and John Heartfield, Höch has been, until recently, a modernist footnote. At the time of her death in 1978, she was remembered as the “Bobhaired Muse of the Men’s Club” and, most infamously, the “good girl” of Dada, a moniker given to her by the artist Hans Richter. The exhibition at MOMA attempts to correct this dubious recognition by spotlighting the work for which she is best known, and though the hundred or so photomontages on view are a ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 15 May 1997, on page 51 Copyright © 2010 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/daughterofdada-naves-3336
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by Mario Naves On “Kandinsky,” at the Solomon R. Guggenheim Museum, New York. by Karen Wilkin On “Cézanne, Picasso, Mondriaan” at the Geementsmuseum, The Hague, The Netherlands. On "The Conversation Piece: Scenes of Fashionable Life" at The Queen's Gallery, Buckingham Palace, London. by James Panero On the Bushwick art scene, the "Inaugural Exhibition" at Storefront, “The Wells Street Gallery Revisited: Then and Now” at Lesley Heller Workspace, “Works on Paper” at Danese & “Jack Tworkov: True and False” at Mitchell-Innes & Nash.  The New Criterion is now optimized for Mobile Devices 
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