When MoMA presented a major Marcel Duchamp exhibition in 1973, the catalogue (as I remember well) noted that he had influenced many otherwise varied younger artists. In a belated response to his early readymades (which originally appeared in 1917, but only attracted attention in the 1960s), Jasper Johns and Robert Rauschenberg found his work of singular importance. (Duchamp had died in 1968, having met and befriended the younger artists.) And it was possible to relate his dealings with commodification and artistic multiples to the concerns of Andy Warhol. That Warhol’s first pop art exhibition, in L.A., came at the same moment as Duchamp’s first museum retrospective, thus allowing the two artists to meet, seemed singularly suggestive timing. The era of Abstract Expressionism was over, and so we art writers were eager to discern what was coming next.