The Surrealists sought points of reference for the new artistic universe they wanted to constellate in the cult objects of indigenous peoples, which at the time had not yet been fully explored as aesthetic objects. Influenced by dreams, imbued with mystical and magical powers of expression, the fantastic objects came from Amazonia, Oceania and Africa, Indian and Inuit communities, pre-Columbian civilizations. The Surrealist artists recognized the aesthetic potential of these tokens and totems and made use of them for their own creativity. This multifaceted publication places spectacular indigenous objects in dialogue with unique works by around 50 Surrealists, as well as inquiring into how the perception of ethnic art has evolved over recent decades. In her essay, Ingrid Beytrison Comina highlights the importance for the Surrealists of Andr Breton's extensive ethnological collection.