Including: Aparte las glándulas salivares (Separate the Salivary Glands) (plate 6); Asi las fastidia (So it Annoys Them) (plate 7); ...al río creyendo que era mozuela... (...to the River, Believing She was a Girl...) (plate 8); A caza de mondadientes (Hunting for Toothpicks) (plate 12); Desferruginosamente (Uncleanly) (plate 13); Principio de Incertidumbre de Heisenberg (Heisenberg's Uncertainty Principle) (plate 19); Tres cañones = a seis plumas (Three Cannons = Six Feathers) (plate 20); Aquellos armarios tiñosos (Those Colorful Cabinets) (plate 23); El gran albino (The Great Albino) (plate 33); and Melancolia sórdida (Sordid Melancholy) (plate 69)

In this large-scale project, Dalí reinterpreted Goya's famous series by introducing his own surrealist elements and satirical interpretation to the issues Goya presented in his etchings: vices, abuses of power and the relationship between men and women. For the published edition, the reworked plates were then re-titled by Dalí below the image with repartee to Goya's titles.

One can easily see Dali's keen interest in Goya's imagery and thoughts, and a base for his re-interpretation: "Goya was preoccupied with dreams, dreamlike states, and nightmares - the varying states of consciousness that allowed him to explore allusive subjects...The Caprichos provide the earliest concentrated evidence of Goya's interest in dreams..."Truth to life" is the essence of what Goya achieved through his graphic work. His prints and drawings quietly observe, confront, dissect, and reflect the many facets of what it means to be human. This truth to life has fueled the works' relevance over the course of two centuries, as they continue to provoke audiences to engage with Goya's profound insights". Mark McDonald, Goya's Graphic Imagination, The Metropolitan Museum of Art, 2021