[1] That same year, to promote nuclear mysticism and explain the "return to spiritual classicism movement" in modern art,[2] he traveled throughout the United States giving lectures.

[3] While he did attempt to distance himself from the Surrealist movement after his development of nuclear mysticism, in Corpus Hypercubus Dalí incorporates dreamlike features consistent with his earlier work, such as the levitating Christ and the giant chessboard below.

The crown of thorns is missing from Christ's head as are the nails from his hands and feet, leaving his body completely devoid of the wounds often closely associated with the Crucifixion.

The word "corpus" in the title can refer both to the body of Christ and to geometric figures, reinforcing the link Dalí makes between religion and mathematics and science.

"[3] Fiona Macdonald describes the painting as showing a classical pose of Christ superimposed on a mathematical representation of the fourth dimension that is both unseeable and spiritual, considering it to be "arguably the greatest expression of [Dalí's] scientific curiosity".

"[8] Novelist Ayn Rand declared Corpus Hypercubus to be her favorite painting, and she would spend hours contemplating it at the Metropolitan Museum of Art.

After nearly 25 years, the painting was loaned to the Centre Georges Pompidou in Paris, the Daimaru Museum in Osaka, and the Tate Gallery in London from December 1979 until June 1980.

Throughout the early and mid 1980s Crucifixion was loaned to museums in Japan, Mexico, and Spain, including the Palau Reial de Pedralbes in Barcelona, the only time the painting has been exhibited in Catalonia, Dalí's home region.

In 2000, it was loaned to the Wadsworth Atheneum in Connecticut from January to March and the Hirshhorn Museum and Sculpture Garden in Washington DC, as part of the traveling show "Dalí's Optical Illusions".