Proposes a new interpretation for the recurrence of the everyday object in 20th c. art, broader than a simple reenactment of Marcel Duchamp's readymade, and suggests some criteria for esthetic comparison and evaluation of objects-as-art and readymades. Describes the transmutation of the industrial object into a work of art and the art object into a commodity in the context of the "universal expositions" of the late 19th c., and comments on the function and meaning of recent examples of object art.
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