works were display, a large number of which were Cubist paintings. For the first time the exhibition took place at the Grand Palais des Champs-Elysées. Picasso was nowhere to be seen, but others were, such as Archipenko, Braque, Csaky, Gleizes, Gris, Hayden, Herbin, Léger, Lhote, Lipchitz, Metzinger, Severini and Survage. The most outrageous Dada eruption to date transpired at the Salon des Indépendants of 1920. The Dadaist saw the Indépendants as decisive in the push to the top of the avant-garde food chain of the Parisian art scene. The plan was as cunning as it was devious: Tristan Tzara and André Breton rented an auditorium at the Grand Palais. A group guided by Tzara distributed flyers and posters saying that Charlie Chaplin would appear "in the flesh" on February 5. The crowd heckled when Chaplin (not even aware of the event) never showed up, and Tzara was ready: his group hurled insults back at the crowd from the stage. The renown literary figure André Gide present in the audience, fooled as the others, described the happening: "Some young people, solemn, stilted, tied up in knots, got up on the platform and as a chorus declaimed insincere inanities". The offensive event witnessed by the more respectable Cubists solicited a vehement denunciation, declaring Dada an abomination. 1921, a new epoch The Salon des Indépendants of 1921, which opened in January, had less Cubist paintings than the previous year. Braque and Metzinger were not represented. The artists that did exhibit included Gleizes, Ferat, Hayden, Marcoussis, Hellesen and Survage. With the Cubists were also Hélène Pordriat, Marthe Laurens, Irène Lagut, Alice Halicka and Sonia Lewitska. At the exhibition were also the works of Bissière, Blanchard, Dufy, Lhote, Tirman, Zadkine and Lipchitz. The hanging commission was conducted in opposition to Signac, who was in favor of the alphabetical order system. Léger left the placement committee in 1923. In 1924 placement was classified by nationality and alphabetically. Lhote left the placement committee, which consisted of 20 people, along with eight other members in 1925. Lhote was of the opinion that the change was mainly intended for the "Sunday painters". Signac and his supporters defended the alphabetical order stressing 'equal attention to all participants' and that there was no place for 'les petites chapelles' (the little chapels). The latter was especially directed against the neo-cubists, who after the First World wished to be associated with well-known artists.