In Stephan Huber’s recent show, the voice of Marcel Duchamp, speaking in the last interview he gave before his death, emerged from behind a closed door. Although the door in fact led nowhere, this piece was meant to usher the viewer into the world of the artist’s childhood in Bavaria. An obvious reference to Duchamp’s famous last work, Étant donnés: 1° la chute d’eau, 2° le gaz d’éclairage, 1946–66, the object of desire beyond the door was simply Duchamp’s own words, rather than the supine body of a naked woman.

A second door, also leading nowhere, appeared on the same wall, and barely audible