I stumbled on the document excerpted below by researching the 1934 quote by André Breton “Have professed absolute surrealism“, and it got me to modify my page on Surrealism and give more prominence to my perennial favourite and “dissident surrealist” Georges Bataille.

Apparently American modern art criticism as professed by Rosalind Krauss, Yve-Alain Bois, Denis Hollier, and Hal Foster has been much influenced by Bataille. Although I should add that it has not only been Bataille who influenced American art and literary criticism; the whole of French theory has had an enormous — and by some much bemoaned — influence on postmodern American theory, much like German theory was influential in post-war France.

When considering Spanish Surrealism, André Breton’s Freudian-based models of automatism and subconscious manifestations predominantly occupy the majority of the attention given. While these frameworks are at least partially relevant within the scope of the early twentieth-century poetry and art, other models that have been overlooked deserve due attention. Namely, the philosophical approximations concerning informe (formlessness), “the excremental,” and “the ethnographic” as developed by the French thinker Georges Bataille–a renegade surrealist–are of great importance and need elucidation. Even though critics such as Rosalind Krauss, Yve-Alain Bois, Denis Hollier, and Hal Foster have elaborated on these Bataillean motifs in their examination of contemporary art, the influence of these theories in early twentieth-century Spain has not been extensively examined. The contention here is that Bataille’s ideas of the twenties and thirties amplify our understanding of the literature of the poets of the literary Generation of 1927 in Spain, many of them so-called surrealists. In Michael Richardson’s words, “Bataille’s understanding concentrates on elements [like ethnography and informe] within surrealism that few critics have recognized, and thus gives us a new perspective on what surrealism may mean”.

… This dialogue [between France and Spain] is evident when considering Hispanic avant-gardists such as Salvador Dalí, Luis Buñuel, Alejo Carpentier, and others, who continually cross borders and establish a correspondence between the Parisian, Hispanic, and Catalan artistic ambiences. Of particular interest here is a detailed examination of this rethinking of the surreal (in Bataillean terms) in one of the most disputed works of the period on the Spanish front: Federico García Lorca’s 1929 collection of poems Poeta en Nueva York. –David. F Richter via ~david.f.richter/Informeing%20Lorca2.pdf