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Suspended from the ceiling, casting its enigmatic shadow, this is a piece of the world "chosen" by the artist – as Duchamp defined his readymade method – and made strange.
The other reason only a fool would dismiss Duchamp and his influence is that, while he conducted his readymade revolution, he simultaneously worked on a complex narrative picture with roots deep in the Renaissance.
Equally iconic are his readymade Dadaist sculptures like Indestructable Object, which featured an eye attached to a metronome and Cadeau, which transforms the ordinary household object of an iron into something more sinister and absurd by adding a row of nails.
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The urinal was part of his "Readymades" where found objects were presented as art.
His readymades give meaningless objects meaning-laden titles — most notoriously, the urinal called "Fountain" (1917).
Duchamp created his readymades for museums; the baroness made Dada in the street.
He sought the estrangement to which his readymades are eerie monuments.
His readymades were not industrial objects or materials (like Flavin's fluorescent light tubes or Judd's metal boxes).
Before the surrealists were possessed by objects they found at Paris flea markets, Marcel Duchamp "selected" his readymades.
The Philadelphia Museum of Art collection contains most of Duchamp's major works, including Nude Descending a Staircase No 2, Large Glass, and all of his readymades.
His Large Glass mocks sex as a sterile process; his readymades mock the idea that art is a soulful act of agonised creation.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com