The Belgrade Surrealist group, the second organized point in the international diffusion of Surrealism, was one of the most important Surrealist groups outside France as it developed a characteristic identity in its activities in the years from 1926 to 1932. Its full historical significance comes to the fore when examined from beyond the perspective of literature and art, because the Surrealist experimental politics of form was articulated in line with cultural, psychological, existential, socio-political and other issues inherent to the Surrealist doctrine. As a radically leftist avant-garde, Belgrade Surrealism extensively called into question all the values of bourgeois society, taking a particular and still under-recognized place in the history of progressive ideas in Yugoslavia in the first half of the 20th century. By conceptual and theoretical, as well as literary and artistic, achievements, it also represents one of the most intriguing and productive strands of the whole Surrealist movement.Dejan Sretenović, Ph.D. is an art historian and curator based in Belgrade. He works as the curator of the Center for Visual Culture at the Museum of Contemporary Art in Belgrade. His field of research covers Yugoslav and international avant-garde and neo-avant-garde, conceptual art, experimental film and contemporary art. He has curated numerous exhibitions in the country and abroad, including Sequences: Art of Yugoslavia and Serbia from the Collection of MoCA (2017), Fluxus in Belgrade (2014), Cinema by other means (2013), Goran Djordjević: Copies 1979-1986 (2011) etc. His publications include numerous books: The Red Horizon: Avant-Garde and Revolution (forthcoming), The Uproarious Marble: Art and Politics of Belgrade Surrealism (2016), The Art of Appropriation (2013), Raša Todosijević. Was ist Kunst? (2002) and Art in Yugoslavia 1992-1995 (1997). His writings appeared in many catalogues, journals, and books in Serbia and abroad.