Jason Farago at the New York Times:
Six years in the making, “Surrealism Beyond Borders” has been organized by Stephanie D’Alessandro at the Met and Matthew Gale at Tate Modern in London, to which the show will travel next year. As in recent shows like “International Pop,” at the Walker Art Center in Minneapolis, or “Postwar,” at the Haus der Kunst in Munich, this new show conceives of Surrealism as not quite a movement, but a broad, tentacular tendency. Its forms and its aims mutated as they migrated, and therefore simple narratives of this-one-influenced-that-one won’t cut it. This is something grander, messier, and much more compelling: an unstable cartography of images and ideas on the move, blowing across the globe like trade winds of the subconscious.
These movements were, like everything with Surrealism, not quite rational and linear. Surrealism was a free-flowing network of exchanges, translations, idealizations and misunderstandings — and on this matter, all too rarely in this age of smug cultural moralism, the curators actually treat us like adults.