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Browse the storeThe readymade is an ordinary object an artist designates as art. From Duchamp's Fountain to 1964 multiples, learn how this idea reshaped 20th-century art.
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In 1917, Marcel Duchamp bought a porcelain urinal from the J. L. Mott Iron Works company in New York, rotated it 90 degrees, painted "R. Mutt 1917" on it, and submitted it to the first exhibition of the Society of Independent Artists under the title Fountain. The Society had been founded on the principle that every artist who paid a six-dollar membership fee would have their work exhibited. The board, which included Duchamp himself, voted to reject it. Duchamp resigned in protest. The original urinal was lost, probably thrown away. What survives is a photograph taken by Alfred Stieglitz showing the urinal against a patterned wall, and a handful of authorized replicas that Duchamp produced in 1964. Those replicas now sit in the Philadelphia Museum of Art, the Tate Modern, and the Centre Pompidou, displayed behind glass on pedestals. A plumbing fixture became one of the most influential artworks of the 20th century.
A readymade is a manufactured object that an artist selects and designates as art without significantly modifying it. The artist does not make the object. The artist chooses it. The creative act is not fabrication but selection, and the meaning of the work comes from the context in which the object is placed rather than from any physical transformation. Marcel Duchamp (1887-1968) invented the readymade between 1913 and 1917, and the concept has shaped art practice ever since, from Pop Art to Conceptual Art to contemporary appropriation.
This entry covers what the readymade is, how Duchamp developed it, which specific objects he chose, how the concept evolved after him, and what recent scholarship reveals about the practice.
The readymade is a subset of the found object, or objet trouve. The distinction is that a readymade is specifically a mass-produced, commercially manufactured object that the artist presents without significant alteration. A found object can be a piece of driftwood or a discarded shoe. A readymade is a bottle rack, a snow shovel, a urinal, a bicycle wheel. It came from a factory, not from nature or a junk pile.
Duchamp described his selection process as "based on a reaction of visual indifference with at the same time a total absence of good or bad taste, in fact a complete anesthesia." He said this in a 1961 talk at the Museum of Modern Art in New York. The statement is deliberately provocative. It claims that the artist chose the object without aesthetic judgment, without liking or disliking it, without any preference at all. The choice was arbitrary, or at least claimed to be.
Recent scholarship has challenged this claim. Jack Flam, Distinguished Professor Emeritus of Art History at the City University of New York, wrote in a 2026 essay for The Brooklyn Rail that Duchamp's statement is "disingenuous" and "intentionally misleading." Flam argued that Bottle Rack (1914) is "a very assertive object" with "hierarchical layers of the radiating spiky forms" that give it "great presence." Flam lived with a bottle rack for several years and described its "austere beauty." The Bicycle Wheel (1913), Duchamp's first readymade, was described by Duchamp himself as "the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn." That is not visual indifference. It is delight. Read the essay at The Brooklyn Rail.
Duchamp produced approximately twenty readymades between 1913 and 1917, though the exact number is debated because some were lost and others exist only in photographs or notes. The most important are documented below.
The first readymade was Bicycle Wheel (1913), consisting of a bicycle wheel mounted on a wooden kitchen stool. Duchamp said he made it for his own amusement, to watch the wheel spin. It was not exhibited as art at the time. The original is lost. The first readymade to be exhibited publicly was Bottle Rack (1914), a galvanized iron rack for drying bottles that Duchamp bought in Paris. He did not modify it. He simply bought it and designated it as his work.
In 1915, Duchamp moved to New York and continued the practice. In Advance of the Broken Arm (1915) is a snow shovel with an inscription painted on the handle. Prelude to a Broken Arm was the title on the original. The object is a mass-produced tool, and the title gives it a narrative dimension that the object alone does not possess. The title suggests that the shovel is a premonition of injury, which transforms a practical tool into something ominous.
Fountain (1917) is the most famous and most controversial readymade. The Society of Independent Artists rejected it, and the rejection became the artwork's meaning. A 2026 article in The Brooklyn Rail by Norton (a pseudonym, almost certainly written with Duchamp's approval) defended Fountain by arguing: "Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it." The article framed the readymade as a philosophical gesture rather than a sculptural one. The question was not "Is this beautiful?" but "Is this art?" Read the article at The Brooklyn Rail.
A 2026 MoMA retrospective of Duchamp's work, the first survey of his oeuvre since 1973, featured 300 works and allowed connections among disparate periods to surface. The exhibition included the full spectrum of readymades alongside early paintings, showing that Duchamp's path to the readymade was not a sudden break but a gradual evolution from painting to mixed-media works to pure selection. His first readymade came through painting: Pharmacy (1914) consists of a cheap commercial print of a snow-covered landscape, painted by a Swiss artist named Sophie von Niederhausern, onto which Duchamp added two dots of red and green gouache inspired by snow globes sold in French pharmacies. The intervention, not the image, constituted the first readymade. Read the review at ArtNews.
The original readymades, with very few exceptions, did not survive. Fountain was lost. Bottle Rack was lost. Bicycle Wheel was lost. What exists in museums today are replicas and reproductions. In 1964, Duchamp authorized the Italian gallery Galleria Schwarz to produce limited editions of thirteen of his readymades, plus an additional edition of Fountain. These editions, produced in collaboration with Duchamp, commemorated the fiftieth anniversary of his first readymade, Bottle Rack, selected in 1914.
A 2025 study published in the Nordic Journal of Aesthetics examined this 1964 edition as the beginning of the "second half of the Readymade Century." The author argued that the paradoxical "constructedness" of these multiples is rarely discussed. The replicas are not the original objects. They are handmade reproductions of mass-produced items, which inverts the logic of the readymade entirely. The original readymade was a mass-produced object presented as unique art. The 1964 multiples are unique handmade objects presented as reproductions of mass-produced objects. Duchamp called this "self-appropriation" and described it as "an absolute contradiction, but that is what is enjoyable." The study argues that these "post-readymades" foreshadow the appropriation strategies of artists from the 1980s to the present. Read the study at Nordic Journal of Aesthetics.
The 1964 edition also ended Duchamp's practice of freely signing bottle racks and urinals. A contract with Galleria Schwarz required him to guarantee exclusivity for the multiples. The art market, which had initially ignored the readymades, now produced them. The readymade, which began as a gesture against the art market, became a commodity within it.
Warhol's Brillo Boxes (1964) are wooden boxes silk-screened to look exactly like supermarket packaging for Brillo soap pads. They are not readymades in Duchamp's strict sense because Warhol fabricated them rather than selecting existing objects. But the conceptual gesture is the same: the question of why one box is art and the identical box in a supermarket is not. The philosopher Arthur Danto saw the Brillo Boxes at the Stable Gallery in New York and wrote that the experience changed his philosophy. Danto argued that after Warhol, the distinction between art and non-art could no longer be made on visual grounds. You can read more about Warhol's approach in our entry on Pop Art.
Kosuth's One and Three Chairs (1965) extended the readymade into Conceptual Art. The work consists of a folding chair, a photograph of that chair, and a dictionary definition of "chair." The chair itself is a readymade. The photograph and the definition are not. The combination asks which of the three is the "real" chair, and by extension, which is the "real" artwork. Kosuth argued in his 1969 essay "Art After Philosophy" that Duchamp's readymades were the beginning of "modern" art because they shifted the focus from the form of the object to the concept of art itself.
Afif's Fountain Archives project, ongoing since 2006, collects printed reproductions of Duchamp's Fountain from books, catalogues, and magazines. Each reproduction is framed and displayed alongside the others. The project creates feedback loops between the readymade as concept and the readymade as physical object, between the imaginary and the real. Afif's work thematizes the idolization and fictionalization of Duchamp's readymades throughout the history of their reception. The Nordic Journal of Aesthetics study noted that Afif's work "opens up feedback loops between theory and practice," making the book about the readymade part of the artwork it describes.
Koons's New Hoover Convertibles (1981-1987) placed vacuum cleaners in fluorescent-lit glass display cases. The objects are commercially manufactured and unaltered, directly inheriting Duchamp's readymade logic. But Koons added the display case and the lighting, which transformed the hardware-store product into a luxury commodity. The gesture comments on consumer culture in a way Duchamp's readymades did not, but the structural move is the same: select, present, recontextualize.
The readymade raises a question that has only become more pressing: if the artist does not make the object, what does the artist do? Duchamp's answer was that the artist chooses. The choice is the art. This answer has been debated for over a century. The philosopher Nelson Goodman reformulated the question as "When is an object a work of art?" rather than "What objects are works of art?" The emphasis on "when" rather than "what" captures something essential about the readymade. The urinal in the plumbing supply store is not art. The same urinal, signed and submitted to an exhibition, is art. The object has not changed. The context and the act of designation have changed.
A 2026 essay in The Brooklyn Rail drew on the philosopher Alva Noe of the University of California, Berkeley, to argue that an object is an artwork "not as a result of its origins, or thanks to its intrinsic properties, or even thanks to its mere effects on us, but only thanks to what it lets us do." Noe argues that when an object functions as art, it lets us "obscure or make problematic everything that needs ordinarily to be in place for there to be anything like straightforward recognition, comprehension, or perception." The readymade does this precisely because it is an ordinary object in an extraordinary context. It forces the viewer to ask "What is this?" and the answer is not obvious.
A 2026 paper published in the Knowledge Commons at Lakehead University documented a methodological shift in recent Duchamp scholarship: a "growing tendency to treat cross-temporal continuity as a scholarly liability rather than an interpretive question." The paper argues that this preemptive narrowing departs from long-standing norms within Duchamp studies, where delay, deferred legibility, and retrospective intelligibility have traditionally been central analytical tools. Read the paper at Lakehead University Knowledge Commons.
When you encounter a readymade in a museum, the first thing to notice is that the object is ordinary. It is not handmade. It does not display skill in the traditional sense. That ordinariness is the point. The readymade works by creating a gap between what the object is and where it is. A bottle rack in a kitchen is a bottle rack. The same bottle rack on a pedestal in a gallery is a readymade. The object has not changed. The frame around it has.
Second, read the title. Duchamp's titles are not descriptive. They are interpretive. In Advance of the Broken Arm does not describe a snow shovel. It gives the shovel a narrative. Why Not Sneeze Rose Selavy? (1921), a readymade consisting of a birdcage filled with marble cubes that look like sugar cubes, has a title that is absurd and specific at the same time. The title is part of the work, not a label attached to it.
Third, consider what the readymade says about art itself. Every readymade is a philosophical argument in object form. It asks: what counts as art? Who decides? Does the artist need to make something? Does the object need to be beautiful? Does it need to be unique? Duchamp's readymades answer no to all of these questions, and the fact that we are still arguing about those answers a century later is evidence of how powerful the gesture was.
The readymade is closely related to the found object, which is the broader category of everyday items presented as art. It connects to Dadaism, the movement in which Duchamp developed the concept. It is a direct ancestor of Conceptual Art, which took the readymade's logic of idea-over-object to its conclusion. It connects to appropriation, which extended the logic of selection to existing images rather than objects. It also relates to avant-garde art, as the readymade was one of the most radical gestures the avant-garde produced. For more on how the readymade influenced later art, read our post on Andy Warhol or our guide to how to look at art for beginners.
The 1964 replicas of Duchamp's readymades are held by major museums worldwide. The Philadelphia Museum of Art has the largest collection of Duchamp's work, including the Bicycle Wheel replica, Fountain replica, and the Large Glass (1915-1923), which is too fragile to travel. The Tate Modern in London has a Fountain replica on permanent display. The Centre Pompidou in Paris holds several readymade replicas and the largest collection of Duchamp's notes and drawings.
If you want to see how the readymade idea evolved, visit the Museum of Modern Art in New York, where Duchamp's Bicycle Wheel sits near Warhol's Brillo Boxes and Kosuth's One and Three Chairs. The proximity tells the story: one artist's provocation became another artist's medium became a third artist's philosophical problem. For more, read our entries on found object and Conceptual Art, or explore our post on the evolution of art styles.
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