Dada’s nonsensical principles were entrenched in anti-art, war, sickness, and illogical ideas from the onset. The roots of Dadaism in Switzerland can be traced to a group of writers and artists based in Berlin who were deeply against the political and military policies that shaped First World War Europe. Dada was characterized by the absolute mockery of the normal, the serious, and traditional artistic values; it revolted against rationalism and normativity, something typical of previous art movements. Dadaists, remarkably, used almost every possible artistic technique available to them such as painting, poetry, novels, gaudy recitals, and even music, in order to convey their profound rebellious ideas. London became Dada’s new centre after the war, before shifting to Paris in the early fifties. From around 1916 to 1920, Paris, or more precisely Montparnasse, became the European center for Dadaism that followed the tremendous liberation of art that Paris experienced. There, artists like Marc Chagall, George Grosz, Man Ray, and André Breton fused cubism with metaphysical abstractionism and came up with Phantasmagoric Cubism, paving way to European surrealisms. It was during this time that surrealists like André Breton emerged, who began shifting their focus to capture the psychical alongside the reality. By focusing on chance and the fragmentation of built structures, Dadaism dismantled the processes of traditional art creation. This enabled future movements, which include Surrealism and Conceptual Arts, to thrive. Even though Dadaism was a short-lived phenomenon and abandoned as a formal movement, its effects can still be seen in modern forms of art that seek to question social norms and boundaries.