How we look at Surrealism, how it looks at the objects it encounters, and how it looks from here: all these looks intertwine in this study linking Surrealism and the Baroque. Le look (whatever
it might be): you have it or you don't, and Surrealism had it all the way. The emotional charge Surrealism extended to the objects of its encounter makes itself felt as at least philosophically
erotic. This charged look determines the atmosphere around the Surrealist text and its encounters--in the world of art and the world it made into art. In this unprecedented attempt to make
sense of the way Surrealism sees, conceals, poses, and stares at its own self and the selves of others, Mary Ann Caws examines the decors, games, portraits, transformations, and mirrorings that
establish Surrealism's links to Baroque forms of representation, suggesting that Surrealism looks the way it looks and speaks the Baroque language it speaks because whoever is looking frames it
that way.
