Dadaism as an Avant-garde strays from conventional values of art and Raoul Haussmann was a founding member of the Berlin Dada movement. He developed photomontage as a satirical weapon for political protest and social commentary. His piece The Art Critic is an ardent criticism of capitalism, illustrates the hypocrisy and superficiality in our society which is why it appeals to me. It also critiques the commercialisation of artwork while mocking bourgeois and conventional social values of art. Firstly, the German banknote behind the critic’s neck suggests that art is more about the money and critics are controlled by capitalist forces. This capitalist state of art is quite prominent today. We see art losing its inherent quality of being i.e “art for the sake of art”, and becomes more about how much it weighs in monetary value and social status. Secondly, this piece challenges traditional art and the critic’s (or society’s) qualification in determining which art is acceptable and fashionable. Today, we see a range of unique art styles like body painting, relational art, pop art and such being embraced by contemporary creative folks. These styles often do not adhere to the traditional canvas painting which we see in most galleries. However, with this deviation, do these art styles not fill the framework of art? Moreover, who gets to decide why or why not and what gives them the liberty to decide? If at its core, art is meant to express and reflect, which it has done over the centuries, then should it not depend on the artist to label their art as ‘art’? Thirdly, like all other Dada art, Haussmann rejects the capitalist society and the bourgeois culture through this piece. With the lack of respect or concern for social and art establishments, and the bourgeoisie, The Art Critic is steeped in ironic humour and irreverence.