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One year later, in 1919, the expressionnists triumph again, Ludwig Justi, the director of the NationalGalerie in Berlin, offers them an exhibition which aims to show how original and divine the expressionnism is. It's too much for Haussmann, he can't bear this blindness anymore. So this same year, one of his favorite topic is depicted again in a collage called The Art Critic.

Big as a standard sheet of paper, this collage represents in the foreground a man who seems to be the dadaist painter Georg Grosz. Two times, Haussmann affixed the following stamp : « PORPRÄP CONSTRUIERT GEORGE GROSZ/ 1920 » on the character's chest. But here's the funny point of the photomontage, it's not a portrait of Grosz, that's why the stamps are crossed. Haussmann had just used the face of Grosz to represent his art critic. Moreover, it's difficult to recognize the face of Grosz because of the drawings on the eyes and the mouth. The collage, so, is dominated by the character of the art critic. Dressed with a three-pieces smoking, very elegant and precious, he holds up a pencil like he would brandish a sword. His eyes are realised with a piece of paper on which Haussmann carelessly drew or rather outlined two eyes. So, the art critic can't correctly perceive art, main topic of his critic. His capacity of evaluation is limited and so does the way he will communicate this evaluation because the mouth is also quickly drawn. On the nape of his neck, we can see a paper money as if someone had inserted it in order to buy the art critic. Like a giant moneybox. His brain so his capacity to think seems to be deteriorated too because of  the shoe that Haussmann sticked on his head as if it was constantly trampled.