to appear. Nor was it stressed enough that in the wake of
constructivism Kassák was in favour of, the long-term destructive-creative
liberation of artistic energies went on in the West, thanks
mainly to surrealism whose inventive zeal, together with that
of dadaism, broke to the surface again in the sixties, but
these movements were alien to him both personally and ideologically.
the latent or patent denunciation of hypocritical phenomena
by surrealism was intolerable or inadmissible for totalitarian
regimes. Although there were attempts in the post-1945 years
to domesticate surrealism in Hungary both in the field of
art history and via the groups of the "European School"
and the "Gallery to the 4 Corners of the World",
they were veiled over for a long time to come by the art policies
of the '50s and '60s. In addition to that, any ("pro-"
or "anti"-art) experiment in the West over the sixties
that drew on the liberating force and outlook of dadaism or
surrealism initially or temporarily encountered stout resistance
for a long time here, whether it was called art brut, nouveau
realism or neodada. The Hungarian reports, all striking a
false key for a start, were written to abuse or brand them.
It is part of the whole story that with the passing of the
time, western art historiography adopted a more sceptical
and lower-key stance in assessing the endeavours sprouting
from dadaism/surrealism; the French Skira book concerned with