關於戰前超現實繪畫於東亞接受與傳佈的議題，相較於中日韓學界的研究成果，臺灣於此方面的研究仍有待著手進行。本文首先考察1930年代獨立美術協會與畫家來臺的始末與意義，指出超現實繪畫傳入臺灣的主要途徑。其次，探討臺灣美術界受此刺激下的迴響，新興洋畫會畫家等人描繪奇異的空間、毀壞的建築、空盪的街景，或是如貝殼、拼貼出的機械世界，使臺灣美術呈現多元豐富的意象。然而進入1940年代，畫家的努力與想像旋即如砂上樓閣般崩解流逝。

The development of the surrealistic art movement in East Asia is little acknowledged and woefully underexplored in Taiwan compared to the research done on this issue in Japan, Korea and China. This paper analyzes the traveling exhibition of the Independent Art Association in Taiwan in the 1930s, and expounds on the meaning of this movement, which should be seen as a step towards the acceptance of surrealism in East Asia during the 1930s. The paper will then present some of the responses from artists in Taiwan stimulated by this exhibition, as well as their creative works. The unexpected and absurd nature of their works -- whether they be collages showcasing the mechanical world, images of destroyed spaces, empty streets, or seashells to express something of the negative emotional impact of modern life -- enrich the variety of Taiwanese art. However, like a house built on sand, their fantastic endeavors soon disintegrated, leaving little behind after the 1940s.