There are some later cases that indicate surrealism’s power on the feminist movement. Iconic figures like Louise Bourgeois, Leonora Carrington, Frida Kahlo, Lee Miller, Kay Sage, Dorothea Tanning, and Remedios Varo are denoted, alongside lesser recognized or newly found practitioners (Susan, Tere, Terri, Dawn & Buszek 201).
“In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States” is the initial important exhibition committed to the state’s movement of artists who have regularly been ignored on the side of a European, male-based vision of surrealism. This mission is commonly linked to the set of artists that always featured in Paris during the twenties and thirties, reducing the contributions of female artists Susan, Tere, Terri, Dawn & Buszek 201). The exhibition takes a view of artists like Louise Bourgeois, Leonora Carrington, Frida Kahlo, Lee Miller, Kay Sage, Dorothea Tanning, and Remedios Varo, and the impacts of layout and sex on their works and the general surrealist movement. With nearly 175 pieces of art in display by 47 artists from the early thirties and late sixties, this is an exhibition that completely explores a new definition of surrealism liberated from Europe’s cultures. Female artists protest their objectification through these pieces of art. The universe of the subconscious and dreams is a far more personal cause that associates to their individual queries of identity (Susan, Tere, Terri, Dawn & Buszek 221).
In numerous respects, these surrealists were identical to Lewis Carol’s main character, Alice, in his renowned ludicrous novels. Their innovation was frequently muffled or marginalized by what appeared to be a somewhat arbitrary and bizarre world where legitimacy did not regularly reign. The curator of the “In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States” exhibition claims that the expansive survey depicts that north America provided