Readymades of Marcel Duchamp not the true "Mona Lisa", but Duchamp's own slightly-different version that he modelled partly after himself. The inference of Shearer's viewpoint is that Duchamp was creating an even larger joke than he admitted. Readymades of Marcel Duchamp The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the Found object became art. Duchamp was not interested in what he called "retinal art" — art that was only visual — and sought
Marcel Duchamp gallery exhibition "Through the Big End of the Opera Glass", printed on translucent paper with the faint inscription: "White to play and win". Grandmasters and endgame specialists have since grappled with the problem, with most concluding that there is no solution. Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors. From 1925 he often traveled between France and the United States, and made New York's Greenwich Village his home in 1942. He also occasionally worked on artistic projects such as the short film "Anemic Cinema" (1926), "Box in