Surrealism in its late phase often abandoned neutral exhibition spaces in favour of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the Exposition Internationale du Surr alisme (1938) and the Dream of Venus at the New York World's Fair (1939), dealt with the fetishization of the female body. The third, First Papers of Surrealism (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered.
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