In June 1939 Salvador Dalí designed a pavilion for the New York World’s Fair built by the architect Ian Woodner. The building was named Dream of Venus. 

The pavilion featured a spectacular facade full of protuberances, vaguely reminiscent of the Pedrera building by Antoni Gaudí. The main door was flanked by two pillars representing two female legs wearing stockings and high-heeled shoes. Through the openings of  the irregular façade, visitors could see reproductions of the Saint John the Baptist by Leonardo da Vinci and The Birth of Venus by Botticelli. The outer part of the building also had crutches, cacti, hedgehogs, etc. Inside, the pavilion offered visitors an aquatic dance show in two large swimming pools, with sirens and other items also designed by Dalí, some of them taking their inspiration from the work of Bracelli. Between the painter’s initial ideas and the final result of the project there arose major modifications, which led Dalí to complain about the Fair’s requirements  in a pamphlet entitled Declaration of the Independence of the Imagination and the Rights of Man to His Own Madness. […] [quoted from dali.org]

Salvador Dalí wrote this declaration after his experience creating a pavilion for the 1939 New York World’s fair. The ‘Dream of Venus’ pavilion was a Surrealist undersea grotto where semi naked women performed in tanks playing piano and milking cows amongst other suitably surreal activities. The image on this pamphlet of Botticelli’s Venus with the head of a fish was Dalí’s original idea for the Pavilion’s entrance. However, the design was rejected by the Fair’s organizers who stated “‘A woman with the head of a fish is impossible” and replaced it with a simple reproduction of Venus. Believing that his artistic vision had been unacceptably compromised, Dalí responded by producing this pamphlet berating the Fair’s organizers and rallying against mediocrity in art by consensus. [quoted from V&A museum]

[…] Despite the conflicts that derived from Dalí’s collaboration with the organizers of the Fair, his participation has to be rated as a highly important moment within the painter’s increasing approximation to mass culture, and his need to project his ideas beyond the strict circles of artistic culture. In this sense it may not be exaggerated to state that The Dream of Venus was a first version (though with features and a context of its own) of that other enormous “inhabitable” and “visitable” artistic object that was to be the Dalí Theatre-Museum of Figueres many years later. [quoted from dali.org]