Hausmann, in 1969, remembered the conspiratorial character of these events where, dressed in American suits and often wearing monocles, the members adopted the dandy style preferred in the literary clubs of the 19th century. But behind its pseudo-institutional 'Dadacratic' or 'Dadagovernment' ways, Club Dada remained a heterogeneous and divided group. The locale on the Freie Strasse, that of the Malik Verlag publishing house, and the apartments of Huelsenbeck and Hausmann each served as a meeting place. In the end, the Club produced a single publication: the only edition of Club Dada, comprised of 16 pages. However, despite Hausmann’s classic cover, inspired by an Expressionist wood engraving, the journal was prohibited.

In spite of the censure and confiscation of Huelsenbeck’s inaugural manifesto, Club Dada continued to develop. The emphatic and extravagant titles the members choose for themselves inevitably tightened their bond: Hausmann and Höch called themselves 'Dadasoph' and 'Dadasophin', Baader chose 'Oberdada', Huelsenbeck, 'Weltdada', Grosz, 'Propagandada', Heartfield, 'Monteur Dada' and Mehring, 'Pipidada'.

The six evening and afternoon events organized by the Club, that all proclaim a "big Yes to the immense nonsense of Dada" (Huelsenbeck, April 1919), were spectacular productions which revealed the shared Dadaist passion for the most innovative artistic practices: bruitist concerts, simultaneous poems and grotesque dances. "The tumult only erupted when Huelsenbeck began to accompany Mrs. Hadwiger, who read Futurist war poems, with children’s trumpets and rattles," recalled Hausmann of the evening of April 12, 1918 at the New Secession, where he presented his revolutionary Manifesto on new materials in painting. The only organizer with Baader of the matinee at the café Austria in June 1918 that saw the inauguration of the new Dada calendar, Hausmann recited for the first time his 'Seelenautomobile' (Soul automobiles) phonetic poems. The evening of 30 April 1919, that closed the first Dadaist show in the Israel Ber Neumann graphic exhibition room in Berlin, saw an interpretation by Golyscheff of an atonal and revolutionary anti-symphony. The race between a typewriter and a sewing machine – on the evening of 24 May 1919 – crowned, by its absurdity and humor all of these performances; Mehring and Grosz drummed frantically on their strange 'instruments'. Beyond the atmosphere worthy of a cabaret and the incredible arrangement of the place – the stage was decorated with large sketches on paper by Baader depicting plans for the Hagenbeckzoo -, the matinee event of 30 November, reenacted on 7 December at the Tribüne, finally exposed, in the same way as the other exhibitions, the "German soul" and the lower-middle-class spirit of the Weimar republic.
In a satirical speech called 'Klassische Beziehungen zu Mittelstandküche' [Classical relations of the lower middle class in the kitchen], Hausmann violently attacked German culture, its poetry, and even its culinary practices. Fights broke out in the crowd, and the audience clambered onto the stage.

'Propagandada' Grosz later recalled that during these events, when the fury reached a climax, the Dadaists, who were often drunk, irritated and insulted the audiences. If the opening of the Schall und Rauch [Noise and Smoke] cabaret on 8 December 1919, and Mehring’s puppet show entitled 'Einfach Klassisch! Eine Orestie mit glücklichem Ausgang' [Simply classic! An Orestiad with a happy ending] marked the beginning of a more moderate period in Berlin, the Dadaist performances, during a tour of Germany and Eastern Europe, continued to provoke, astonish and fascinate the public.