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1913issue6online

16 it’s a different story, a “hundred years war,” but never collage in the married sense. Playing chess to resist commitments: ni épouser, ni exposer, in other words, he would not marry Mary. Failing the door, we are then sent for the case, which the suspect makes with a box inside, to and fro, as museuming begins. Portably. A brush-pass. Hair between floors. Hair records time; clues are locked in. Key, then, to what someone ate a hundred years ago, what pollution was breathed, the groundswell of stress, water and disease. But without clear hair, investigation stalls. Would the bicycle ever have become art except between wars? Would the bottle rack make it back? These double-objects rarely settle, so handlers remain vigilant—which is why at this point we want only the valise. He might turn bridge agent to spite us, and pass the models. We make the most of his tarry with Mary. He parried Mary, but told her not to be up front about it. The secret is non-marriage; Duchamp provides amusing hardware but worries his assets will be uncovered. Was Mary’s but a cover stop? He could see others, but she could not.

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