Thought-provoking and offensive are possible ways to interpret the ten optical discs and corresponding puns displayed in the film. The word play of French syllogisms gleefully collides with the protruding-receding optical illusions of the rotating spheres. Julien Levy called the film SPIRALS and screened it repeatedly at his New York City gallery during the 1930s. - Bruce Posner

Artworks by the fictitious Rrose Sélavy (1920-1950) first appeared in 1920 and subsequently Duchamp used her as his feminine alter ego. Her name implies she is driven by erotic power; the antithesis of Duchamp's cool, cerebral character. For this reason, Duchamp attributed certain works to her. Man Ray photographed Duchamp as Rrose on numerous occasions. - R. Bruce Elder / Bruce Posner

Arguably the 20th century's greatest art iconoclast, Marcel Duchamp (1887-1968) devoted his entire career to debunking pre-existing ideas about art which he believed should appeal to the intellect rather than the senses. Encouraged by the storm of controversy sparked by his painting NUDE DESCENDING A STAIRCASE NO.2 at the 1913 Armory Show, Duchamp moved to New York in 1915. He was extremely active in the fledgling American avant-garde, editing several Dada magazines, inventing word games and puns, and designating ordinary objects as "readymade" works of art. During this period, he cemented a life-long working friendship with Man Ray. - Michael Taylor