'Dada in Paris' offers a behind-the-scenes account of the French avant-garde's riotous adolescence, with a timeline that begins with Tzara and Picabia and stretches to include Breton, Philippe Soupault, Louis Aragon, and Paul Éluard. Sanouillet describes the pre-Dada Parisian milieu, the connection made with Zurich Dada, and Parisian Dada projects and their reception. Finally, by 1923, Dada-according-to-Tzara gave way to Dada-according-to-Breton—which a few months later, under tumultuous circumstances, took on the new name of Surrealism. The longer-lasting, more conservative Surrealism would overshadow Dada for decades to come.