Imagine for a moment that the “Bachelors” or “Nine Malic Molds” of Marcel Duchamp’s Large Glass, represent the eight pawns material to a chess player, that they connote the eight files or eight paths which a pawn is compelled to take toward the eighth and final rank, or what is for the pawn its long sought place and moment of gratification, union, and transition. Imagine that the Ninth Malic Mold, the Stationmaster of Duchamp’s notes, represents Duchamp, the artist as guide and gatekeeper, the viewer as witness, the protagonist of Duchamp’s anonymous allegory, and the metaphorical player himself with the King as his medium and stand in.