Candice Breitz's Rainbow Series (1996) is arguably the most controversial work by an African artist in recent times. Her photomontage of pornographized Black and White female bodies circulated in important international venues and expectedly elicited withering reviews, and sympathetic comments from African critics and historians. At issue was the use of images of Black Women's bodies by a White artist, especially in a South African society scarred by the legacy of Apartheid. This paper historicizes the Rainbow Series, not only by placing it within the history of South African or Western racial, body politics, but also within the history of modern photomontage. Through a comparative reading of Rainbow Series and Hannah Hoch's post-Dada photomontages, this paper suggests ways in which Breitz's work quotes from Hoch's, as well as how it eloquently speaks to the difficult and explosive realities of the Rainbow Nation.