Salvador Dalí's work in the 1930's includes two groups of paintings embodying the pictorial concept of the multiple image. These works exhibit the most extensive form of mutual dependence of theory and artistic practice within his overall production of images of this nature. Referring to the early phase of Dalí's paranoia theory, the 1930 group experiments with the documentation of the paranoiac phenomenon of multiple figuration. The aim: To raise doubts about the supposed reality of the objects of the external world and, in terms of its iconography, to apply the erotic metaphor on a universal scale. The 1938 group displays conceptualized representations of paranoiac-critical activity as promulgated in Dalí's writing of the mid-1930's. Dalí's double images, on the other hand, which lack the theoretical and conceptual implications of the multiple images, generally indulge in facile visual trickery.