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The title of the 1965 Cordier and Ekstrom exhibit, “Not seen and/or less seen of/by Marcel Duchamp/Rrose Selavy” is a concise statement of the fantasy content of Duchamp's work. As implied here, looking and not seeing, and a fused image of man and woman are ideas which preoccupied the artist. An attempt will be made to systematize these two themes with reference to Duchamp's two major works, the Bride Stripped Bare by her Bachelors, Even (the Large Glass, ), and Given, 1. the Waterfall, 2. the Illuminating Gas, (the Etant Donnés, ). References will be made to many of his lesser works, including the readymades and several Dada “events,” as well as to some biographical material.
Most of Duchamp's work is housed in the Philadelphia Museum, where it is on permanent display for the next 20 years. One room, containing several early paintings, is dominated by the Large Glass (Figs. 1 and 2). Passing through this room, one comes to a smaller room, dimly lit, containing an old oak door set in a brick wall (Fig. 3). One may notice that the door cannot be opened, dismiss it as another objet trouvé, and walk away. However, if you accept the invitation and walk up close, two peepholes are discovered in the door, (it would be interesting to note how many people fail to observe them) through which a brightly lit display is seen. The display consists of a lifelike nude female mannequin, lying on her back with her legs spread wide apart. In her upraised left hand she holds a glass hurricane lamp, with a small gas flame flickering inside. There is a swath of blond hair hiding her face, but no pubic hair. In the background,