Jason Gaiger, Duchamp, Man Ray, Picabia, Incidental and Integral Beauty: Duchamp, Danto and the Intractable Avant-Garde  It is widely accepted that the radical avant-garde movements of the early twentieth century abjured beauty, thereby effecting a decisive break with the art of the past. Duchamp is accorded a leading role in this process insofar as he rejected the satisfactions of ‘retinal pleasure’ in favour of an art of ideas. This paper argues that although it is a mistake to assimilate the Readymades to traditional models of aesthetic appreciation, the physical properties of Duchamp’s chosen objects remain ‘integral’ to their meaning as works of art, which resides at least in part in the conflict or dissonance between their appearance and their artworld status. Further Reading Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of Art, Open Court Publishing, 2003 Frank Sibley, Approach to Aesthetics: Collected Papers on Philosophical Aesthetics, Oxford University Press, 2001 William A. Camfield, ‘Marcel Duchamp’s Fountain: Its History and Aesthetics in the Context of 1917’ in Rudolf Kuenzli and Francis M. Naumann, eds., Marcel Duchamp: Artist of the Century, MIT Press, 1989 Jason Gaiger, ‘Interpreting the Readymade: Marcel Duchamp’s Bottlerack, in Jason Gaiger, ed., Frameworks for Modern Art, Yale University Press, 2003 Pierre Cabanne, Dialogues with Marcel Duchamp, trans. Ron Padgett, Da Capo Press, 1971