The installation of one of Duchamp’s Fountains in a new exhibition of dada and surrealist works at Scotland’s National Gallery of Modern Art inspires plenty of local musing about how the sometimes florid sex-and-death conceptions of painters like Magritte and Miro plays into the Presbyterian milieu of formal Edinburgh. As well, there are insights about the Fountain as not so much a work of found sculpture to be appreciated in sculptural terms, but as a work of anti-sculpture, a provocation designed to antagonize.

(This particular Fountain, for those keeping score, was brought up from the Tate.)