AbstractAn examinationof the communicative aspects of Dadaism, a revolutionary movement in the arts which began as a series of violent protests against World War I and the attitudes that had brought it on, considering the following aspects: 1), the development of an artistic language, a strange blend of logic and psychologic, with the latter predominating; 2), the introduction of a new approach to fantasy and chance in the arts; 3), the Dadaist protest against “the laws of discursive thought,” the movement toward non‐discursive kinds of meaning, and the attempt to convey the simultaneity of experience in the arts; and 4), the discovery of a unique expressiveness in everyday objects. It is concluded that the Dadaist protest against discursive logic paved the way for the development of non‐discursive forms of expression. The Dada revolution extended the range of subject matter in the arts, opened up new modes of perception and new kinds of involvement for audiences, and was generally in the vanguard of the modern artist's attempts to explore realms of feeling and form that had previously been left