Man Ray’s predicament within the history of culture cannot be understood or valued without a detailed knowledge of his revealing formative period in the United States, in which, as we have pointed out, are located all the elements that would later give meaning to an artist with multiple interests and ways of expressing them. Although we have tried, as far as possible, to set down as many of these elements as we could, important aspects are still missing in order to continue shaping such an interesting personality — one on which clarifying lights have been cast, but which has also revealed curious shadows. Especially regarding his family sphere, political affiliation, and cultural influences during childhood and adolescence, there remain wide areas to explore which, we are sure, would reveal important data to complete the story of the artist and his work, which, by extension, is an important piece within the history of recent American culture, with an international significance that needs no emphasis but does need review in all its complexity. We have verified the importance that the universe of ideas —understood as ideology and as thought— holds in its fusion with the realm of aesthetics —both in his individual research and in the confluence with the Dada movement created in New York, especially with Duchamp, with whom he complemented himself mutually— to create the conceptual framework that underpins his overall artistic activity.