Though her career stretched into the ’70s, Hannah Höch is best known, at least on this side of the Atlantic, as the sole female member of the bad-boy club that constituted Berlin Dada. While this show featuring more than 100 photomontages—the first retrospective of Höch’s work in the US—gives an attentive nod to her Dada years, it focuses mostly on the work she made after, and in spite of, her association with the group. Monumental pieces such as Dada Rundschau (Dada panorama, 1919) and Schnitt mit dem Küchenmesser Dada durch die letzte Weimarer Bierbauchkultur epoche Deutschlands (Cut with the