The main aim of my article is to investigate, or simply to highlight the evolution of the twofold character of Surrealism-influenced, and later Surrealist, manifestos in three consecutive stages of the avant-garde movement in Romania. I apply the notion of the avant-garde manifesto developped by Benedikt Hjartarson in his essay “Myths of Rupture. The Manifesto and the Concept of Avant-Garde”, with the aim of taking a closer look at the anti-Surrealist Romanian manifestos of the mid-twenties, pre-Surrealist texts of the thirties, and the proper phase of the newly-established Romanian Surrealist Group’s discoveries in the forties.