The political and cultural landscape of the interwar period imbued her work with an urgency and specificity which has long maintained the sense that it is a statement of intent, a comment. There is a joyful anarchy that feels like it can be broken down and analysed, it feels like it can be ‘interpreted’. The racial cues, the gender inversions and the unhinging of patriarchal prejudice feel like propositions of rebellion delicately crafted and intricately snipped into place. Yet the standard set by this perception means that Höch’s later work (of which a great deal is on show here) can lack some of that purpose and, as such, has been often overlooked.