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This paper works to characterize the relationship between Surrealism’s art, its critical reception and its popularity in American culture, a relationship often mediated by Salvador Dalí’s public embodiment of the

This paper works to characterize the relationship between Surrealism’s art, its critical reception and its popularity in American culture, a relationship often mediated by Salvador Dalí’s public embodiment of the movement. Alfred Barr’s 1936 exhibition at the Museum of Modern Art introduced a broad view of Surrealism to a receptive American audience.

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