Abstract
Marcel Duchamp’s Fountain (1917) is probably the most famous engagement with expositionality (Schwab 2011a, 2012, 2014; Schwab and Borgdorff 2014b) in the history of art. Expositionality, understood in its most general sense, is the articulation of something as something else . Here, the title Fountain captures how a “piece of plumbing” (Duchamp’s own words in “The Richard Mutt Case”) could become a work of art. This exposition of a urinal as art may be called “appropriation,” “ready-made,” and so on but, in its most basic operation, it simply consists of the gradual transposition of the urinal in question into art: bought