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 position that can arise in the endgame. Using enneagram-like charts that fold upon themselves, the authors demonstrated that in this position, the most Black can hope for is a draw. The theme of the "endgame" is important to an understanding of Duchamp's complex attitude toward his artistic career. Irish playwright Samuel Beckett was an associate of Duchamp, and used the theme as the narrative device for the 1957 play of the same name, "Endgame". In 1968, Duchamp played an artistically important chess match with avant-garde composer John Cage, at a concert entitled "Reunion". Music was produced by a series of