Consuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealism's multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealism's intersection with advertising, Magic Realism, Pop, and the rise of contemporary photography. As a popular avant-garde, Surrealism openly resisted art historical classification, forcing the supposedly distinct spheres of modernism and mass culture into conversation and challenging theories of modern art in which it did not fit, in large part because of its continued relevance to contemporary American culture.

Modernism-Dada-Postmodernism collects, updates, integrates and contextualizes the critic Richard Sheppard's essays on the historical avant-garde. Sheppard's topic in all of these essays is the modernist writers', artists', and philosophers' linguistic and visual responses to a changed sense of reality and human nature. Beginning with an overview of the problematics of European modernism, Sheppard establishes the dialectical relationship between the cultural crisis that occurred during the period 1880-1936 and the different responses from European modernists and the avant-garde. With its combination of classic and new essays and its perspective on the theoretical avant-garde/modernism debate in the United States, Sheppard's volume should give the specialist as well as the general reader an insight into the highest sample of European scholarly discourse on this subject.

"Eastern Dada Orbit" is composed of two distinct parts and describes two largely unexplored aspects of Dada. The first, "Dada in Central and Eastern Europe" (including the former Soviet Union), edited by Gerald Janecek, was a previously closed field that scholars have since discovered reveals the significant influence of Dada on the region. The second part of this volume, "Tada=Dada (Devotedly Dada) for the Stage: The Japanese Dada Movement 1920-1925," focuses upon the equally under researched area of Dada in Japan. Toshiharu Omuka traces the particular place of Dada within the dynamic development of Japanese modernism.

In the same month that the single issue of the only official New York Dada magazine was published, April 1921, the Socie te Anonyme arranged a formal session to discuss the question "What is Dada?" This volume attempts to address that question through a series of engaging essays by such well-known New York Dada scholars as Martin Gaughan, Estera Milman, Ruth L. Bohan, Dickran Tashjian, Naomi Sawelson-Gorse, Michel Sanouillet, David Hopkins and Dafydd Jones.