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
Marcel Duchamp a Valise" (1935–41), "Self Portrait in Profile" (1958) and the larger work "Étant Donnés" (1946–66). In 1943, he participated with Maya Deren in her unfinished film "The Witch's Cradle", filmed in Peggy Guggenheim's Art of This Century gallery. From the mid-1930s onward, he collaborated with the Surrealists; however, he did not join the movement, despite the coaxing of André Breton. From then until 1944, together with Max Ernst, Eugenio Granell, and Breton, Duchamp edited the Surrealist periodical "VVV", and served as an advisory editor for the magazine "View", which featured him in its March 1945 edition, thus introducing him to