The idiosyncratic and evocative work of Remedios Varo (1908-63) constitutes a superb but little-recognized episode in the history of Surrealism. This exhibition of seventy paintings and drawings, organized by the National Museum of Women in the Arts in Washington, DC (Chicago was its second and final stop), was Varo’s first US retrospective; her long-standing neglect in this country is hard to understand, considering the visual and conceptual elegance and historical relevance of her work. Born and trained in Spain, Varo (with her companion Benjamin Péret) was a member of André Breton’s Surreahst