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''Documents'' was financed by Georges Wildenstein , an influential Parisian art dealer and sponsor of the Surrealists. Given its title and focus by Georges Bataille, ''Documents'' initially listed an eleven-member editorial board including Wildenstein himself (with Bataille listed as "general secretary"); however, by the fifth issue, Bataille was the only editorial member to remain on the masthead. "A Playful Museum" , Dawn Ades and Fiona Bradley, ''The Guardian'', May 6, 2006 Called "a war machine against received ideas" by Bataille, "Special Reports : Undercover Surrealism" , ''Guardian UK'' ''Documents'' brought together a wide range of contributors, ranging from dissident surrealists including ". ''Documents'' was a direct challenge to "mainstream" Surrealism as championed by André Breton , who in his Second Surrealist Manifesto of 1929 derided Bataille as "(professing) to wish only to consider in the world that which is vilest, most discouraging, and most corrupted." "Second Manifesto of Surrealism" , Andre Breton, Manifestoes of Surrealism, translated by Richard Seaver and Helen R. Lane (Ann Arbor: University of Michigan, 1969). The violent juxtapositions of pictures and text in ''Documents'' were intended to provide a darker and more primal alternative to what Bataille viewed as Breton's disingenuous and weak brand of Surrealist art. By presenting explicit, often profane imagery side by side with "intellectual" writing, Bataille used ''Documents'' to propel Surrealism in a direction he felt Breton dared not : toward an overturning of all hierarchies of art and morality, and a complete democracy of form. "Surrealism's Dark, Disgusting Side Goes on Display in London" , Martin Gayford, Bloomberg.com, May 12, 2006 SEE ALSO
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