He published a treatise, Vierzehn Briefe Christi (Fourteen Letters of Christ) concerning Monism and over the course of the next few years wrote articles for the journals Die freie Straße (The Free Street) and Der Dada.

Raoul Hausmann appointed him head of a society called Christus GmbH (Christ Ltd), which he formally founded as a legal company in 1917.

Hausmann explained that the plan was to recruit persons to join the society for 50 marks, after which the member could too become Christ and would be unfit for military service and free from all temporal authority.

Raoul Hausmann, Baader's friend and collaborator, credits him with being the first to having created giant collage art, which he produced from life-size posters and used in his direct action campaigns, after which he destroyed them.

Richter wrote of him: “For sheer lack of inhibition he put in the shade even the activities of Dadaists in Zurich, New York, Berlin, and Paris; and this is saying a great deal...

He was the furtherest removed from normality (and therefore convention) of them all.”[6] Attempts to initiate a Dada architecture resulted in his Das Grosse Plasto-Dio-Dada-Drama: Deutschlands Grösse und Untergang oder Die phantastische Lebensgeschichte des Oberdada (The Great Plasto-Dio-Dada-Drama: Germany's Greatness and Decline or The Fantastic Life of the Superdada), originally shown in 1920 at the Berlin Erste internationale Dada-Messe (First International Dada Fair).

[7] Baader also produced sketches of visionary architecture, which, in common with those of Hausmann and Yefim Golïshev, sometimes invoked proto-Constructivist girderlike structures.