The exhibit includes many things that one would expect to see in a surrealist show, such as frottages by Ernst (which, admittedly, I detest), and a collection of exquisite corpses (which, admittedly, I love). A bit more surprising is a wonderful formalist montage by Matta (below), which is more geometric than his usual work, and the monochrome format save us from his ghastly palette.
The show also makes special effort to establish that surrealism was not just a French thing, nor even French, Belgian, and Spanish. There are collages by Joseph Cornell, a nice postcard piece by Roland Penrose, some fine works by Mexican surrealists, including César Moro, Czech artists such as, Jindřich Štyrský, and Ei-Kyu (!), from Japan. See examples below.
Another link is suggested between surrealist automatic drawings and subsequent experimentations with chance. Near the end of the show, there is an appealing Ellsworth Kelly consisting of a grid of lines that have been assembled using a random method. Dadaists like Arp, Tzara, and Duchamp may be a greater influence on this work, devoid as it is of the dream-like imagery that weighs down the surrealist enterprise. But still, the exhibition succeeds in rescuing surrealism from the periphery and repositioning it as one of the most influential and long-lasting movements in recent art.