Letter and word play is omnipresent in the Duchampian universe. From Rose Selavy and her noteworthy failure to sneeze to L.H.O.O.Q. and the Fresh Widow, Duchamp’s titles occupy absurd, almost self-canceling linguistic spaces of their own. In the company of images and objects, they take on an even less scrutable dimension. And the more the audience opens itself to the free play of language, the deeper the puns and puzzles go.