Ricardo Cotanda’s 1995 exhibition at IVAM’s Centre del Carme was dominated by white. A perverse wink toward Duchamp’s bachelors, the show comprised nine pieces from a bridegroom’s apparel: shirt front, belt, tie, cuffs, collar, hat, shoes, handkerchief, and glove. Each element had been modified in some way, to disquieting effect. The shoes, for example, were sheathed in white socks, accentuating their phallic aspect; the handkerchief bore a suspicious, spermlike stain on its embroidery; and the belt was covered with tulle, undermining its symbolic function as a protector of the masculine