Brought up in Brooklyn, Emmanuel Radnitsky adopted the pseudonym Man Ray in 1909 and as a regular visitor of Alfred Stieglitz’s gallery, 291, became acquainted to European contemporary art and avant-garde photography. The Dada movement that took birth in Zurich, in 1916, found an echo beyond the Atlantic Ocean where Man Ray, probably influenced by Francis Picabia’s visit the same year, in the city, became the prominent figure of the Avant-Garde, also entitled Dada. When he settled in Paris, in 1921, he promptly turned into an influential member of the Dada and Surrealist groups within which he collaborated with Jean Cocteau, André Breton, Salvador Dali or Max Ernst. In 1922, he began experimenting his very own version of photograms that he called rayographs - camera-less images made of everyday objects that Surrealists dislodged from their initial contexts. His art practice spanning painting, sculpture, prints and poetry, Man Ray also contributed to the aesthetic of avant-garde films in the same way as Luis Bunuel and Hans Richter while his photography inspired Maurice Tabard or Brassaï. He successfully navigated between commercial and fine art - establishing such iconic pictures as his Violin d’Ingres featuring Kiki de Montparnasse while working as a conceptual fashion photographer for Vogue and Harper’s Bazaar. At a time when machinery and innovation were seen as the allies of progress, speed and technology, Man Ray’s technique served fantasy.