Jean (Hans) Arp, Hans Bellmer, Victor Brauner, Serge Brignoni, Alexander Calder, Bruno Capacci, Julio de Diego, Enrico Donati, Marcel Duchamp, Max Ernst, David Hare, Jacques Hérold, Marcel Jean, Wifredo Lam, Jacqueline Lamba, Maria Martins, Roberto Matta, Joan Miró, Man Ray (Emmanuel Radnitzky), Kay Sage, Yves Tanguy, Dorothea Tanning, Toyen (Marie Čermínová), Suzanne van Damme, Various Artists

Alexander Calder conceived of sculpture as an experiment in space and motion. Ranging from delicate, intimate, figurative objects in wood and wire, to hanging sculptures that move, to monumentally scaled abstract works in steel and aluminum, Calder’s art suggests the elemental systems that animate life itself.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth.

So enthused Man Ray (born Emmanuel Radnitzky) in 1922, shortly after his first experiments with camera-less photography. He remains well known for these images, commonly called photograms but which he dubbed “rayographs” in a punning combination of his own name and the word “photograph.

When Marcel Duchamp created his most famous work—the industrially produced urinal Fountain —it was largely ignored. Fountain was the high point of Duchamp’s campaign to dismantle and expand the boundaries of what constitutes a work of art; it had begun four years earlier, when he asked, “Can one make works that are not ‘of art’?

Wifredo Lam charted a pathbreaking trajectory in modern art and served as a reference for subsequent generations of artists working across the Caribbean, Africa, and the West.