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His Dada spirit surfaces in "Being John Malkovich," just as his sense of branching, overlapping realities resonates with the pop inventiveness of "Run Lola Run".
In another of his Dada paintings, Card-Playing War Cripples, men breathe through tubes and use feet to hold cards – they are no longer men, they are collages.
Duchamp and his Dada colleagues were thought to be responding to a world gone haywire in the aftermath of World War I.
"Francis Picabia always attacks himself," the artist wrote in 1920, the height of his Dada years, and those attacks were merciless.
He has created more picaresque pieces, like the one to be played pizzicato on eight cacti, but that is a product of his Dada background and his admiration for Marcel Duchamp.
The missing link was Nyman's simultaneous discovery that the Hanover-born artist Kurt Schwitters, eventually exiled in Britain after fleeing Germany in 1937, also collected London bus tickets to paste on to his Dada collages.
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That neatly catches a spirit of eccentric invention that Picabia shared with his Dada-era comrades Marcel Duchamp (who is not in the show) and Man Ray (who is, with several ghostly "Rayographs," made by manipulating unidentifiable objects in the darkroom).
Traditionally, Brazil has absorbed cultural influences, digested them and created its own forms, as modernist poet Oswald de Andrade pointed out in his Dada-esque Cannibal Manifesto in 1928.
He says he knows who he is -- Sacramento is now his permanent home; his business, Dada, is thriving; his philanthropy, the Chris Webber Foundation, is gratifying -- and he is defiant about where he's going.
Soon after, he produced his first Dada work, an assemblage titled "Self-Portrait," and his first widely-received photographs.
A lampshade was among his first Dada objects.
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