During the 1930s, Dora Maar’s provocative photomontages became celebrated icons of surrealism. Her eye for the unusual also translated to her commercial photography, including fashion and advertising, as well as to her social documentary projects. In Europe’s increasingly fraught political climate, Maar signed her name to numerous left-wing manifestos – a radical gesture for a woman at that time. In middle and later life Maar withdrew from photography, concentrated on painting and found stimulation and solace in poetry, religion, and philosophy. She returned to her darkroom only in her seventies. This retrospective explores the breadth of Maar’s long career in the context of work by her contemporaries.