Thus the surrealists, proclaiming -- though none too loudly and certainly without any supporting evidence -- that the Hegelian 'end of history' lay within, and would be advanced by, their poetry, succeeded only in producing ... overloaded meaning -- and changed nothing. There was simply no way, by virtue of language alone, to make the leap from exchange (of goods) to use. (Lefebvre 19)

Perhaps the problem is Surrealist poetry. Surrealist film certainly creates new spaces through juxtaposition, designification, and atemporal narrative. The Andalusian Dog's cut eye, for example. Is this a cutting out of the surveying eye (ala Foucault)? Does this rid our spectator of grand metanarratives?