Throughout the 20th century, Czech artists came to live and create in Paris in search of a certain freedom in the expression and production of their art, and beyond that just looking for freedom itself. It was a matter for them to escape from the Austro-Hungarians, and quickly thereafter, from the Communist oppression, but also from a certain provincialism in Czech art, corseted in a traditionalist iconography. This is how Paris became the haven of progressive artists who had the courage and the talent to embrace the cosmopolitan movements of the capital's avant-garde. The affiliation of these artists to the various movements that animated the debates and artistic production in the City of Lights at the beginning of the 20th century reflects their integration, their influence, and their contributions to this bubbly substrate. To be absolutely convinced, we may just name among others, Abstraction-Creation in the case of František Kupka and František Foltýn, Le Grand Jeu for Josef Šíma and even the surrealist group of Breton with Jindřich Štyrský, Toyen and Jindřich Heisler, later joined by the youngest Otto Mizera and Jan Křížek. Some of them went back home, like Adolf Hoffmeister, but, with others, Francophiles who had remained in Czechoslovakia (František Muzika, Ladislav Novák), have continued and developed their artistic works in parallel with the Parisian avant-garde. Later, especially after the occupation of Czechoslovakia in 1968, other artists like Irena Dědičová, Jiří Kolář, Běla Kolářová came to Paris with the same objective as their predecessors. Many of them, through their active participation in the creative emulation they found in Paris and their fundamental contribution to certain avant-garde movements, are now among the most sought-after Czech artists. Prague-Paris pays a tribute and justice to them, thereby opening new perspectives in understanding the development of artistic movements through the sharing of ideas and an emerging globalized art market.