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(Maud Lavin, Professor Emerita, School of the Art Institute of Chicago, and author of Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Hoech)

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(Adrian Sudhalter, author of Dadaglobe Reconstructed)

The archive of the German artist Hannah Hoech (1889-1978) has long been an important source of material for historians researching the interwar avant-garde and artists associated with Berlin Dada. This book explores Hoech's practices of organisation when assembling the documents in her house outside Berlin from 1939 until her death. Through extensive research, the author argues that Hoech's archive should be considered not just a collection of documents but a work in its own right, intimately connected with the artist's daily life. Noting the importance of understanding the mechanisms of this work, the book suggests that Hoech took charge of both preserving and exploring the possibilities of Dada long after the group had been officially dissolved.

The file that Hoech assembled on her friend, the artist Kurt Schwitters (1887-1948), plays an important part in the book, its content revealing how domestic habits infused both artists' practices. Juxtaposing Hoech's archive and Schwitters's Merzbau, the author argues for an interactive movement between the two that has fundamental implications for how we understand both artists' oeuvres.