In the second issue of the Dada journal The Blind Man, an anonymous editorial on Duchamp’s Fountain, 1917, famously proclaimed: “The only works of art America has given are her plumbing and her bridges.” Aaron Flint Jamison’s recent exhibition couldn’t but bring to mind Duchamp’s urinal, since, upon entering, viewers confronted a luxury Jacuzzi, mounted on the wall like a three-dimensional painting. With this updating of Duchamp’s gesture, the Portland, Oregon–based artist managed to forcefully reformulate the contradiction between its assertive (this, too, is art) and negative (this is just