This essay discusses some of the stakes involved in this issue's cluster of texts on women photographers of Weimar Germany. They are critical assessments by contemporary art historians that draw attention to the still unfinished feminist project of questioning disciplinary assumptions around gender, sexuality, labor, and technologies of reproduction. These essays accompany four new translations of articles written in the 1960s and ’70s by a participant of that historical moment, Lucia Moholy, whose early reflections on the historical avant-gardes anticipate its feminist critique.