information:classification, linguistic:translation, structural:expansion
Tributes and portrayals

In France, Tzara's work was collected as Oeuvres complètes ("Complete Works"), of which the first volume saw print in 1975, and an international poetry award is named after him (Prix International de Poésie Tristan Tzara). An international periodical titled Caietele Tristan Tzara, edited by the Tristan Tzara Cultural-Literary Foundation, has been published in Moinești since 1998.

According to Paul Cernat, Aliluia, one of the few avant-garde texts authored by Ion Vinea features a "transparent allusion" to Tristan Tzara. Vinea's fragment speaks of "the Wandering Jew ", a character whom people notice because he sings La moară la Hârța, "a suspicious song from Greater Romania." The poet is a character in Indian novelist Mulk Raj Anand 's Thieves of Fire, part four of his The Bubble (1984), as well as in The Prince of West End Avenue, a 1994 book by the American Alan Isler. Rothenberg dedicated several of his poems to Tzara, as did the Neo-Dadaist Valery Oișteanu. Tzara's legacy in literature also covers specific episodes of his biography, beginning with Gertrude Stein 's controversial memoir. One of his performances is enthusiastically recorded by Malcolm Cowley in his autobiographical book of 1934, Exile's Return, and he is also mentioned in Harold Loeb 's memoir The Way It Was. Among his biographers is the French author François Buot, who records some of the lesser-known aspects of Tzara's life.

At some point between 1915 and 1917, Tzara is believed to have played chess in a coffeehouse that was also frequented by Bolshevik leader Vladimir Lenin. While Richter himself recorded the incidental proximity of Lenin's lodging to the Dadaist milieu, no record exists of an actual conversation between the two figures. Andrei Codrescu believes that Lenin and Tzara did play against each other, noting that an image of their encounter would be "the proper icon of the beginning of times." This meeting is mentioned as a fact in Harlequin at the Chessboard, a poem by Tzara's acquaintance Kurt Schwitters. German playwright and novelist Peter Weiss, who has introduced Tzara as a character in his 1969 play about Leon Trotsky (Trotzki im Exil), recreated the scene in his 1975–1981 cycle The Aesthetics of Resistance. The imagined episode also inspired much of Tom Stoppard 's 1974 play Travesties, which also depicts conversations between Tzara, Lenin, and the Irish modernist author James Joyce (who is also known to have resided in Zürich after 1915). His role was notably played by David Westhead in the 1993 British production, and by Tom Hewitt in the 2005 American version.

Alongside his collaborations with Dada artists on various pieces, Tzara himself was a subject for visual artists. Max Ernst depicts him as the only mobile character in the Dadaists' group portrait Au Rendez-vous des Amis ("A Friends' Reunion", 1922), while, in one of Man Ray 's photographs, he is shown kneeling to kiss the hand of an androgynous Nancy Cunard. Years before their split, Francis Picabia used Tzara's calligraphed name in Moléculaire ("Molecular"), a composition printed on the cover of 391. The same artist also completed his schematic portrait, which showed a series of circles connected by two perpendicular arrows. In 1949, Swiss artist Alberto Giacometti made Tzara the subject of one of his first experiments with lithography. Portraits of Tzara were also made by Greta Knutson, Robert Delaunay, and the Cubist painters M. H. Maxy and Lajos Tihanyi. As an homage to Tzara the performer, art rocker David Bowie adopted his accessories and mannerisms during a number of public appearances. In 1996, he was depicted on a series of Romanian stamps, and, the same year, a concrete and steel monument dedicated to the writer was erected in Moinești.

Several of Tzara's Dadaist editions had illustrations by Picabia, Janco and Hans Arp. In its 1925 edition, Handkerchief of Clouds featured etchings by Juan Gris, while his late writings Parler seul, Le Signe de vie, De mémoire d'homme, Le Temps naissant, and Le Fruit permis were illustrated with works by, respectively, Joan Miró, Henri Matisse, Pablo Picasso, Nejad Devrim and Sonia Delaunay. Tzara was the subject of a 1949 eponymous documentary film directed by Danish filmmaker Jørgen Roos, and footage of him featured prominently in the 1953 production Les statues meurent aussi ("Statues Also Die"), jointly directed by Chris Marker and Alain Resnais.