André Breton’s Surrealist manifestoes were first translated into Spanish in the 1960s, first in Spain by Andrés Bosch in 1964 and then in Argentina by Aldo Pellegrini in 1965. While Spain was a dictatorship where the government controlled and censored the publication of works from abroad, Argentina was a country supposedly free and democratic. The purpose of this article is to analyze and compare the reception and translation of this book at that time in both countries, as well as to compare the quality of these translations and the place given to translators.