Duchamp is Da-Dandy

The discovery of Morée reframes not only the visual strategies of early Dada but also
the identity of the central figure in Hannah Höch’s Da-Dandy.

Long seen as a symbolic or anonymous dandy, the clipped profile now points more
directly to Duchamp—especially in light of his own 1957 silhouette, which mirrors
it with uncanny precision. Crucially, that silhouette has no clear explanation—
unless it was a response.

Morée, with its network of visual and conceptual echoes, sharpens the connection.
What once seemed a generic profile now emerges as a likeness of Duchamp.

Now, the silhouette no longer feels incidental—it circles back to Da-Dandy,
in an unmistakably Duchampian way.