S
urrealism and Dada, as an item of faith, regularly
traverse or transgress the boundaries between art and
artifact, exalting objects of use, with or without artistic
intervention, into icons, as in Marcel Duchamp's readymades,
or Schwitters' collages of bus tickets, to name just two
practitioners. To view now the Surrealist and Dada objects
found and named, or made from scratch from 1913 onward,
is to enjoy in them a certain surprisingly venerable patina
Joan Miró, Homme et Femme dans
la Nuit (Man and Woman in the
Night), 1969 © Successió Miró / Artists Rights Society (ARS), New York
HYLAND
