Exposing the Hidden Horrors of “Dreamworlds”

**Editor’s Note: The following story contains material that may be triggering to some readers.**

**Dreamworlds: Surrealism at 100 – An Exhibition with Contextual Gaps**

*PHILADELPHIA* — The Philadelphia Art Museum’s *Dreamworlds*, celebrating 100 years of Surrealism, showcases masterworks but glosses over historical and political nuances, especially regarding Salvador Dalí. Known for his shocking acts and contentious politics, Dalí’s complex character and eventual expulsion from the Surrealist movement are inadequately explored, reducing the opportunity to understand his divisive role.

Unveiling art under broad themes of “sex,” “nature,” and “war,” the exhibition lacks in-depth context, crucial for grasping Surrealism’s antifascist roots and its birth from World War I’s horrors. Artworks presented fail to illuminate the rich narratives of lesser-known artists like Rita Kernn-Larsen and Suzanne Van Damme, or delve into the movement’s intersection with the plight and creativity of Jewish artists during the Holocaust.

While *Dreamworlds* effectively captures Surrealism’s dreamlike quality, with prominent displays of Dalí’s work, it avoids addressing his controversial admiration for dictators like Hitler and Franco. The absence of this discussion leaves a void where critical engagement should be, diminishing the exhibition’s educational potential.

Ultimately, while *Dreamworlds* enchants visually, it raises critical questions about what stories remain untold in understanding the fight against or succumbing to the monstrous ideologies Surrealism often sought to depict. The exhibition continues until February 16, inviting visitors to explore further into the Surrealist narrative.