| Unpacking Duchamp |
| Acknowledgments |
| Author's Note |
| Introduction: Unpacking Duchamp |
 | 1— Painting at a Dead End |
| • | Painting Stripped Bare |
| • | The Mainspring of the Future: Playing the Field |
| • | Through the Looking Glass |
| 2— Ready-Mades: (Non) sense and (Non) art |
| • | Retinal Art and Conceptual Euphoria |
| • | Puns: Verbal and Figurative Machines |
| • | What is a Ready-Made? |
| • | Ready-Made Ironies |
| 3— Reproductions: Limited Editions, Ready-Made Origins |
| • | Reproduction 1: The "Objective" Character of Art |
| • | Reproduction 2: The Work of Art as Limited Edition |
| • | Reproduction 3: A Critique of Mimesis |
| 4— Art and Economics: From the Urinal to the Bank |
| • | Is it Business or Is it Art? |
| • | Reproduction as Crime: Money as Art |
| • | Reproduction as Speculation: Drawing on Chance |
| • | Down the Drain: Numismatics as Art |
| 5— Rendez-vous with Marcel Duchamp: "Given" |
| • | Rendez-vous with the Visible: Cul-de-Sac |
| • | Looking at the Looking, Even |
| • | Casting: The Die of Eros |
| • | Given: The Delayed Snapshot |
| • | Epitaph: Cenotaph: Epigraph |
| Postscript: Duchamp's Postmodern Returns |
| Notes |
| • | Introduction: Unpacking Duchamp |
| • | 1— Painting at a Dead End |
| • | 2— Ready-Mades: (Non) sense and (Non) art |
| • | 3— Reproductions: Limited Editions, Ready-Made Origins |
| • | 4— Art and Economics: From the Urinal to the Bank |
| • | 5— Rendez-vous with Marcel Duchamp: "Given" |
| • | Postscript: Duchamp's Postmodern Returns |
| Select Bibliography |
| Index |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | J |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | Y |
