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
Fountain (Duchamp) positioning ascribed to the object." He goes on to explain the importance of naming the object (ascribing a title). At least three factors came into play: the choice of object, the title, and how it was modified, if at all, from its 'normal' position or location. By virtue of placing a urinal on a pedestal in an art exhibition, the illusion of an artwork was created. Duchamp drew an ink copy of the 1917 Stieglitz photograph in 1964 for the cover of an exhibition catalogue, "Marcel Duchamp: Ready-mades, etc., 1913–1964". The illustration appeared as a photographic negative. Later, Duchamp made