This work is from a series of seventeen photomontages executed between 1924 and 1930. It combines photographs of a tribal mask, a baby's torso and an eye from a fashion magazine, in a deliberately enigmatic meeting of cultures. The weird, hybrid figure created is mounted on small feet, as if on display. The photomontage is an ironic comment on the treatment of women in Weimar Germany: seen as inferior, by being equated with primitive people, and treated as infantile, while simultaneously being put on a pedestal. The geometric background recalls the work of the Dutch De Stijl group of modernist artists and architects, with whom Höch was associated.