Pursuing an ad-hoc interdisciplinary Ph.D. with a designated emphasis in Women, Gender, and Sexuality, Noga Wizansky, in Crosscut: Handicraft, Abstraction, and Gender in Weimar Germany, spans the media of film, photomontage, collage, and weaving to examine the practices of three women artists in Weimar Germany. Looking to filmmaker Lotte Reiniger, photomontage artist Hannah Hoech, and Bauhaus weaver Anni Albers, Wizansky argues that the paradigm of the “crosscut” framed the endeavors of artists and seminal cultural critics who were engaged in holding social, material, and conceptual contradictions in a tense, but productive, balance. Ultimately Wizansky proposes that the social discourses that made the idea of the crosscut possible in Weimar culture also corresponded to a complex gendered space, creating shifts in gender relations in post-WWI Germany.