In this regard, we might describe Duchamp as the first appropriation artist, the first to understand that all it takes is a signature. And it is for this reason perhaps that Duchamp remains the unsurpassable horizon for all art today, the only artist all other artists repeat: not because he himself stands for anything, not because his contribution cannot be refuted, but because he makes himself identical to this very process of doubling or renomination. We can criticize Duchamp, reinterpret him, see another intention in his work, but all this only in the name of Duchamp. It is only by reading Duchamp against Duchamp that we are able to go beyond him. Duchamp was the first to make this doubling the very subject of his art and thus—a little like Hegel in the history of philosophy—was the first to bring art to a close (but not an end).