The Sculpture for Traveling, Duchamp’s 1918 camera-composed "sculpture," has received new attention recently thanks to the New York Museum of Modern Art’s "The Original Copy: Photography of Sculpture" retrospective. Over and above the Duchampian questions of what constitutes the "original" copy of a signed readymade or other "assisted’ reproduction, the topic introduces nuances about the portability of sculpture. Is the sculptural in itself necessarily location-dependent (and even immobile unless explicitly designated as a "mobile"), while the photographic record lends itself to being carried with us as we move from vista to vista?