Between 1922 and 1931, the Berlin artist Hannah Höch created a large series of photomontages in which she engages with the representation and reception of the foreign in the early 20th century. In her works, Höch not only articulates a critical statement on primitivism and the Western hegemonic perspectives of her contemporaries, but also puts forth a distinctly postcolonial demand for a transcultural, global art. Denise Toussaint's detailed examination and reinterpretation of Höch's works in light of postcolonial theory adds a significant dimension to the perception of the Dadaist and places her within a highly relevant international research field.