Her work commonly combined male and female traits into one unified being. During the era of the Weimar Republic, “mannish women were both celebrated and castigated for breaking down traditional gender roles.” Her androgynous characters may also have been related to her bisexuality and attraction to masculinity in women (that is, attraction to the female form paired with stereotypically masculine characteristics).
During World War II, Höch spent the years of the Third Reich in Berlin, Germany, keeping a low profile. She lived in Berlin-Heiligensee, a remote area on the outskirts of Berlin, hiding in a small garden house. She married businessman and pianist Kurt Matthies in 1938 and divorced him in 1944. She suffered from the Nazi’s censorship of art, and her work was deemed “degenerate art” making it even more difficult to show her works. She was even forced to hide much of her work by burying it in her yard until the war was over.% | % | % | % | % | % | % | % | % | % | % | % | %