With the rise of industrialization, globalization, and mass production, manufacturing productivity has dramatically increased and, therefore, the availability of goods consumption. And with the rise of media, various products have been targeted at large groups of consumers. Consumerism, which is propelled by a system of mass production and high levels of consumption, has been one of the themes of works of art from the 20th century until today. When it comes to consumerism and gender, I find two characters: Hannah Hoch and James Rosenquist. -connected. Hoch once worked for a women's magazine at the large Ullstein Press while Rosenquist earned his living as a billboard painter at Artkraft-Strauss. They worked in mass media during the day and used the fragments of the industry to create works of art at night before moving to their own studios. The Beautiful Girl (1919-1920) and The Light That Won't Fail I (1961) are examples I will use to explore consumerism and the relationship between consumerism and gender. As mass culture insiders, Hoch and Rosenquist draw both content and technique from the visual vocabulary of mass consumption and transform them into art. Their approaches to creating artwork reflect changes in the world of consumption in different periods of history. As evidenced in their works, The Beautiful Girl and The Light That Won't Fail I, photomontage and billboard-like painting resemble forms of advertising. And their different types of juxtaposition embody the experience of the consumer world and the artists' allegorical commentary on consumerism and gender. Consumerism does not only act in the works but also through the medium. . Both artists not only...... middle of paper ......ight That Won't Fail I is worth studying. Works Cited Ganeva, Mila. 2008. The Fashionable Women of Weimar: Discourses and Protests in German Culture, 1918-1933. Rochester, NY: Camden House. Hemus, Ruth. 2009. The Women of Dada. New Haven [Conn.]; London: Yale University Press. Lavin, Maud and Hannah Höch. 1993. Cutting with a kitchen knife: Hannah Höch's Weimar photomontages. New Haven: Yale University Press. Lobel, Michael and James Rosenquist. 2009. James Rosenquist: Pop art, politics, and history in the 1960s. Berkeley: University of California Press. Philip Singerman of the Sentinel Staff. 1985. Sign Language James Rosenquist has always painted messages. now they are his. Orlando Sentinel 1985. Sherayko, G. F. (1996). Selling the Modern: The New Consumerism in Weimar, Germany. (Order No. 9637539, Indiana University). ProQuest dissertations and theses, 283-283 p.