Elliott King, Dalí, Fonzie, and what 'Late Dalí and Film' can tell us about Late Dalí and Everything Else  Speaker: Elliott King, a specialist in Dalí's post-war art and cosmogony. His first book, Dalí, Surrealism and Cinema (2007), is published by Kamera Books. Critics have often identified Dalí's 1941 rejection of Surrealism in favour of 'classicism' as the 'tipping point' when his work began to decline. His activity with film offers a compelling challenge to that history. Dalí and Film has been less restricted by the chronological and thematic partitions that divide the artist's work in other media. Using the exhibition as a springboard, Elliott King suggests that the conventional categories used in classifying the artist's work – 'early', 'Surrealist', 'late', 'classic', 'atomic', etc. – are useful but also potentially limiting; as Dalí and Film shows, abandoning them can lead to a refreshing view of Dalí's complete – and continuous – oeuvre. Further Reading Robert Cozzolino, 'Why Are Salvador Dalí's "Late Works" His Most Contentious?', in Hank Hine, William Jeffett and Kelly Reynolds (eds.), Persistence and Memory: New Critical Perspectives on Dalí at the Centennial (Milan: Bompiani Arte, 2004) Salvador Dalí, Open Letter to Salvador Dalí (New York: J.H. Heineman, 1967). Originally published in French as Lettre ouverte à Salvador Dalí (Paris: Albin Michel, 1966) Salvador Dalí, 'The Last Scandal of Salvador Dalí' (New York: Julien Levy Gallery [exh. cat.], 1941). Written under the pseudonym Felipe Jacinto.Reprinted in Haim Finkelstein (ed., trans.), The Collected Writings of Salvador Dalí (Cambridge: Cambridge University Press, 1998) Elliott H. King, Dalí, Surrealism and Cinema (Herts: Kamera Books, 2007) George Stolz, 'The Late Great Salvador Dalí', ARTNews 104, no. 2, February 2005