Surrealist practice of the early twentieth century anticipates the biopolitics of contemporary animal philosophy. Modern surrealists welcomed Charles Darwin's paradigm shift, moving beyond any bright line that distinguished humans as a species from the rest of the animal kingdom. Surrealism's investment in evolutionary biology – promoted in journals such as Minotaure, Documents, and View – buttressed its political critique of humanist exceptionalism, sovereign individualism, and any ideal telos that defined the origins and destiny of humankind. Although surrealist animal representations frequently lapse into anthropocentric fantasy, surrealist manifestoes, art, poetry, fiction, and drama remain undeniably revolutionary in depicting human/animal hybridity and assailing the oppressive discursive linkages among classism, colonialism, and speciesism. In particular, the later careers of surrealists such as Leonora Carrington look ahead to recent ecofeminist and environmental debates concerning an “ethic of care,” defining kinship and companion networks in a decidedly posthuman community of human and nonhuman animals.