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The term derives from the technique of combining or superimposing photographic images culled from different sources in order to create new pictorial ideas and relationships. It was explored in avant‐garde circles of the 1920s and 1930s by Modernist designers such as László Moholy‐Nagy, Herbert Bayer, and Edward McKnight Kauffer, as well as in John Heartfield's overtly political critiques of the Nazi regime in Germany.

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