This project investigates the relationships between art and politics in the context of German modernity, incorporating into this debate the discourses on eugenics, degeneration, and femininity. To develop this discussion, the study examines the artistic production of two significant German women of the twentieth century. Käthe Kollwitz (1867-1945) and Leni Riefenstahl (1902-2003) embody, respectively, the debates on the politicization of art and the aestheticization of politics. Using this comparative perspective as a point of departure, this study examines how the visual languages of Kollwitz and Riefenstahl articulate different responses to the modern imaginary of biopolitics and eugenics. By mobilizing this hypothesis, the research explores the arts as a privileged locus for examining ideological impasses of the twentieth century, especially regarding the duality of competing worldviews. While Riefenstahl mobilized the eugenic ideals of strength, beauty, and racial purity for the visual construction of the Nazi regime, Kollwitz reinscribes them in a critical key, revealing their ethical and social implications for the female body and labor. It can be inferred that, by making political statements, through art, about abortion and maternal suffering, they expand the scope of the eugenics debate, incorporating it into their distinct visions of shaping a future world.