“Every idea is born together with its own form.” This statement provides us with a clue to follow Meret Oppenheim’s practice; an interesting one, because the artist is doubtless one of the most prominent of her generation, especially among those who work in Surrealism. Since her youth, and long before her almost mythical encounters with artists Alberto Giacometti and Hans Arp, and, through them, with the Surrealist circle which later fed her creativity with new and unexpected stimuli, the German-Swiss artist firmly refused the traditional idea of art as mastery of a technique, be it painting or drawing or sculpture or anything else. Exploring her own imaginations and dreams, she tried to be constantly surprised by possibilities related to the unseen and the unexpected, each time looking for a way to make them visible. Her fellow German-Swiss artist Paul Klee stated, decades before, “art does not show what is visible; art makes it visible.”1