George Grosz's drawings of the 1920s are heralded for their incisive social commentary and economy of means. Yet they tend to be viewed today as the product of a misanthropic personality rather than a hatred born of political commitment. Originally conceived for an audience radicalized by the turmoil of the immediate post-WWI period and deployed in the pages of Communist-oriented publications, Grosz's images spoke to a moment of profound social polarization. Their ability to translate structural foes into indentifiable enemies made them, in the eyes of partisan critics, uniquely able to foster class conscious ways of seeing. This talk explores the development of an explicitly Communist form of graphic satire during the Weimar Republic and its relationship to the vicissitudes of partisan ideology by looking at how the sardonic vision of artists like Grosz became the very image of class hatred.