The Halmstad Group and decorative surrealism. This text explores the reception of the Swedish Halmstad Group as surrealists during the 1930s and 1940s in relation to their use of decorative strategies. The meaning of the concept "decorative" is ambiguous in a modernistic context and what is explored in this text regardning surrealism is “decorative” as a diverse utilization of modes of composition, such as being inspired by patterns and craft, or as a continuation of academic principles of composing. “Decorative” is also associated with the “decorative arts”, which are closely connected to architecture, interior design, and craftsmanship. Central to this investigation is how different decorative aspects were evaluated and how they influenced the reception of the Halmstad Group's surrealism. Both critical and appreciative comments by art critics, such as mentioning decorative superficiality or decorative beauty, appear to reflect what was considered appealing or objectionable in the Halmstad Group's surrealism and surrealism in general. The artists were eager to explain and address criticism that they perceived as misleading. Depending on the situation they sometimes emphasized the connection to Parisian and Danish surrealism and sometimes claiming a type of surrealism of their own. Consequently, they faced criticism for not being real surrealists, or surrealistic enough. On the other hand, their often well-ordered, decorative surrealism was simultaneously valued by others. Thus, decorative strategies could be perceived as means of both emphasizing and toning down, making visible and concealing surrealism. An enlightening approach to explore decorative aspects in the Halmstad Group’s surrealism is to connect it to their post-cubism during the 1920s. Despite gradually distancing themselves from post-cubism in the 1930s, its compositional austerity sometimes remained significant. What attracted them to surrealism were poetic, narrative, dreamlike and decorative possibilities that sharply contrasted with the geometric and somewhat ethereal forms of decorative post-cubism. As an example of architectural-bound decorative surrealism, the ironwork and intarsias of the Halmstad Group in Halmstad’s modernist town hall from 1938 are examined. Considering surrealism as an avant-garde movement aiming for revolution, it's evident that this represents a different type – exquisite craftsmanship in alignment with, or at least not in overt opposition to political power in Sweden during the 1930s. The acceptance of the Halmstad Group surrealism in this context might be understood as an expression of recognition by modernist architects and art critics as well as trust by local politicians.