While Louise Bourgeois knew Miro, Ernst and other members of the Surrealist circle, her work is its own territory and must be approached on its own mordant terms. But as the recent documentary Louise Bourgeois: The Spider, the Mistress and the Tangerine demonstrates, elements of her sculpture bear a family resemblance to Duchamp’s — as when, for example, the plates from her book He Disappeared Into Complete Silence (1947) reflect the figures in the Large Glass, or when a museum curator lifts the skirt of one of the disembodied figures dangling in an untitled 1996 sculpture to reveal a bicycle wheel nestled within.

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