Your comment misses the political dimensions of Surrealism. They swayed between Leninist and Libertarian socialism. The entire point of the movement was to resist neoliberal tendencies, which produced disasters like the World Wars, etc.
See: Sadie Plant's The Most Radical Gesture for a description of the relationship between Dada, Surrealism, and the SI.
i'm not missing the political dimension of surrealism, i'm deliberately ignoring it. there's two of us in these comments who are aware of these political dimensions, where's society's perspective on surrealism is duchamp's fountain and dali's persistence of memory. surrealist art is a one trick pony, that is at fault for how easily it was recuperated. situatonists argued that this dimension was built in from the very beginning.
Furthermore, as a Marxist, he'd have to admit the dialectical (material) influence of surrealism and its offshots, including his.
Also - Situationist tactics are just as prone to recuperation as Surrealism. Anti-advertising, street art, etc. are totally integrated.
To add further nuance, Surrealism continued after Breton, et al. Surrealist groups still exist and were acting in parallel to the Situationists in the late '60s. For example, the Chicago group emerged from the Industrial Workers of the World/SDS, staged interventions (a la situations) and were among the first to distribute Situationist literature through their bookshop.
surrealist groups keep dragging a dead corpse around. there's nothing wrong with that, in same way as improv clubs are a perfectly acceptable leisure activities for the laptop class.
we can definitely agree that both surrealist and situationist tactics are at this point fully integrated. but then traditional protest tactics have been at this point fully integrated: you know si celebrating watts riots, but the covid riots might as well be a perfect case study on the nature of recuperation. i doubt op new york times writer thinks she's being anything but clever, but you know everything about it is a neat little mockery of our collective impotence.
there are lessons that we can derive from si writing AND surrealist works, but i don't think goofy "one simple hack the spectacle hates!" are it.
dadaist ideas were continued to be picked up by the avant guard over years, and as predictable recuperated with various degrees of success. one can trace a line of ideas from dadaists to punks, for example, and its easier to understand what is the relationship between dadaism and surrealism, by looking at the way punk was very rapidly stripped of its political potential and reduced to representation only.
it has become significantly hard to do, but one should go see kazemir malevich's "black square" at the tretyakov galery of art in moscow. none of the digital copies, that are mere representation, do it justice. the piece oozes power in person, it's a long subdued power, that we also have to see through the prism of gulags and terror that followed, but its a raw power of men, an ability to accomplish things both awesome and terrifying, to wrought matter into form. that power terrifies those who were in power at the time AND those who are in power now. disregard all that peasant, look it's a fish floating through a rain of melting clocks! dahlin, isn't it so maavelous and inventive.