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Looking at the 1920s from our time, we are afflicted by a cultural blindness to ideas that have fallen from favour. Henderson looks beyond the prejudices of orthodoxy, and considers Duchamp's own writings and the popular understanding of science and technology that held sway eighty years ago. This clarifies aspects of the 'Large Glass' on which other writers have been silent; the significance of early wireless technology, the lingering concept of the 'ether', and early cathode-tube researches.
Despite the density and unfamiliarity of the ideas presented, and the inherent difficulty of explaining Duchamp's conceptual barrage, Henderson lively and clear approach is an exemplary and honest engagement with the conditions of art production. In no sense does she engineer the evidence so that a streamlined art-historical position can purr smoothly; she presents the material that informed Duchamp's ideas, shows how he processed this material, and argues persuasively for a Duchamp who responded to his setting rather than a deified modernist who worked in the vacuum of his own genius. Good art history enhances our understanding of art, history, and society. Henderson's honesty, and her sense of scholarly security, make for an invaluable contribution to the literature on a crucial and cunning giant of modern art.

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