L.H.O.O.Q. and wrote "Moustache par Picabia / barbiche par Marcel Duchamp / avril 1942". As was the case with a number of his readymades, Duchamp made multiple versions of "L.H.O.O.Q." of differing sizes and in different media throughout his career, one of which, an unmodified black and white reproduction of the "Mona Lisa" mounted on card, is called "L.H.O.O.Q. Shaved". The masculinized female introduces the theme of gender reversal, which was popular with Duchamp, who adopted his own female pseudonym, Rrose Sélavy, pronounced "Eros, c'est la vie" ("Eros, that's life"). Primary responses to "L.H.O.O.Q." interpreted its meaning as being an attack
Fountain (Duchamp) object. Menno Hubregtse argues that Duchamp may have chosen "Fountain" as a readymade because it parodied Robert J. Coady's exaltation of industrial machines as pure forms of American art. Coady, who championed his call for American art in his publication "The Soil", printed a scathing review of Jean Crotti's "Portrait of Marcel Duchamp (Sculpture Made to Measure)" in the December 1916 issue. Hubregtse notes that Duchamp's urinal may have been a clever response to Coady's comparison of Crotti's sculpture with "the absolute expression of a—plumber." Some have contested that Duchamp created "Fountain", but rather assisted in submitting the piece to