5. Francis Picabia, Portrait of Cezanne , 1920

6. Crass

7. JEAN ARP, Collage Arranged According to the Laws of Chance, 1916–1917. Torn and pasted paper, 1’ 7 1/8” x 1’ 1 5/8”.

9. 3 Standard Stoppages (3 stoppages étalon), one at a time from a height of 1 meter, he dropped three 1-meter lengths of thread onto a prepared canvases. They landed in three random undulating positions. He varnished them into place on the blue-black canvas strips and attached them to glass. Then he cut three wood slats into the shapes of the curved strings, and put all the pieces into a croquet box.

10. Marcel Duchamp, Network of Stoppages , 1914

13. Mark Tansey, Triumph of the New York School, 1984 European vs New York Modern Art Picasso, Matisse, DuChamp vs Pollock, Rothko and Greenberg

15. Marcel DuChamp “ I was interested in ideas – not merely in visual products”

17. MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia

18. MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Ready-made glazed sanitary china with black paint, 12” high.

20. Peeing Boy , in Brussels in 1619

21. Piero Manzoni's Artist's Shit 1961 Tin can with paper wrapping with unidentified contents Sold for the price of its weight in gold

22. Andy Warhol, Oxidation Painting, Copper metallic paint and urine on canvas, 78 x 218 ins., 1978

23. Andy Warhol, Oxidation Painting, 1978

24. Paul McCarthy's sculpture "Complex Shit" (2008) Susan Robb, "DIGESTER," Her "DIGESTER" is six 55-gallon drums designed to extract methane from human waste to make energy. The waste in question is Lawrimore's. William Delvoye, Cloaca Machines, 2004

26. Sherrie Levine / Walker Evans

29. Bicycle Wheel was the first of a class of objects that Duchamp called his "readymades." He created twenty-one of them, all between 1915 and 1923. The readymades are a varied collection of items, but there are several ideas that unite them. The readymades are experiments in provocation, the products of a conscious effort to break every rule of the artistic tradition. in order to create a new kind of art -- one that engages the mind instead of the eye, in ways that provoke the observer to participate and think. Picasso Bull’s Head 1943

30. In 1913, Marcel Duchamp took found objects from the streets and placed them in museums. 96 years later, if Duchamp were alive, he may want to do the very opposite. Ji Lee, 2009

31. Marcel Duchamp explains how to make a readymade: Take a Rembrandt. Iron on it.

33. MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” high, 3 5/8” wide, 4 1/2” deep.

35. Marcel DuChamp, “L.H.O.O.Q.”, 1919 The title when pronounced in French, puns the frase "Elle a chaud au cul", translating colloquially into "She has a hot ass".

36. Rrose Sélavy (Marcel Duchamp). 1921. Photograph by Man Ray. Francesco Vezzoli’s GREED exhibition at the Gagosian Gallery in Rome

37. The Monte Carlo Bond, 1924 (issued as a limited edition of thirty copies) was to be sold at five hundred francs with a guarantee of twenty percent interest redeemable in three years. Wanted/ $2000 Reward (1923) the criminal in question is guilty of gambling by going through the motions of commercial transactions without actually engaging in them.

38. HANNAH HÖCH, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920. Photomontage, 3’ 9” x 2’ 11 1/2”. Neue Nationalgalerie, Staatliche Museen, Berlin.

39. Raoul Hausmann 1886-1971 : The Art Critic Der Kunstkritiker 1919-1920 Photomontage and collage 12 3/8 x 9 7/8 in. Tate Gallery, London

41. KURT SCHWITTERS, Merz 19, 1920. Paper collage, approx. 7 1/4” x 5 7/8”. Yale University Art Gallery

42. RICHARD HAMILTON, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956. Collage, 10 1/4” x 9 3/4”. Kunsthalle Tübingen, Tübingen, Germany.

43. Rotoreliefs, 1920

44. Robert Rauschenberg Revolver, 1967 Layers of media images, mostly found in the press, are expanded with the concept of movement and rotation. The work consists of prints on five round sheets of plexiglass in a metal case, set in motion by electric motors and a control unit that allows to address each single circle of images.

45. Chocolate Grinder #2 1914 Mixed media, oil on canvas

46. MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil, lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9 1/8”.

48. Marcel Duchamp (French, 1887–1968) Tu m' , 1918 Oil on canvas, with bottle brush, three safety pins, and one bolt, 27 1/2 x 119 5/16 in. (69.8 x 303 cm)

49. Marcel Duchamp, Sixteen Miles of String , 1942 (part of his installation for the First Papers of Surrealism exhibition, NY) Eva Hesse's "Untitled (Rope Piece)" (1970)

54. Francis Picabia, Machine Turn Quickly, 1916, Tempera on Paper, 49x32 cm

55. Francis Picabia, Hera , c. 1929, oil on cardboard, 105 × 75 cm

56. Francis Picabia 'Femmes au Bull-Dog' 1940-1942.

57. SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”.

58. Salvador Dali / Mae West

59. The Hallucinogenic Toreador, 1968-70

60. Dali’s hand drawing back the golden fleece in the form of a cloud to show gala the dawn, completely nude, very, very far away behind the sun, 1977

61. Man Ray, “Observatory Time – The Lovers” 1936

62. The Hat Makes the Man, 1920 Virgin Spanking the Christ Child, 1926 Max Ernst

63. MAX ERNST, Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 2’ 3 1/2” high, 1’ 10 1/2” wide, 4 1/2” deep.

64. René Magritte. Time Transfixed . 1938. Oil on canvas. 1.46 x 0.98m.

65. RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”.

68. MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” in diameter; saucer, 9 3/8” in diameter; spoon, 8”.

69. JOAN MIRÓ, Painting, 1922. 5’ 8” x 6’ 5”.

70. PAUL KLEE, Twittering Machine, 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 2’ 1” x 1’ 7”.

71. Paul Klee Ancient Sound, Abstract on Black 1925 Oil on cardboard 15 x 15 in

72. GIORGIO DE CHIRICO, Melancholy and Mystery of a Street, 1914. Oil on canvas, 2’ 10 1/4” x 2’ 4 1/2”.