Editing Postmodern art (section)

===Dada===
{{Main|Dada}}
[[File:Duchamp Fountaine.jpg|thumb|200px|[[Marcel Duchamp]], ''[[Fountain (Duchamp)|Fountain]],'' 1917. Photograph by [[Alfred Stieglitz]]]]
In the early 20th century, [[Marcel Duchamp]] exhibited a urinal as a sculpture. His point was to have people look at the urinal as if it were a work of art just because he said it was a work of art.<ref name="Tate">{{cite web|url=https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573|title=''Fountain'', Marcel Duchamp, 1917, replica, 1964|publisher=Tate|website=tate.org.uk|access-date=5 October 2018}}</ref><ref name="Parkinson">[https://books.google.com/books?id=42zyAHflrxcC Gavin Parkinson, ''The Duchamp Book: Tate Essential Artists Series''], Harry N. Abrams, 2008, p. 61, {{ISBN|1854377663}}</ref><ref name="Judovitz">[https://books.google.es/books?isbn=0520213769 Dalia Judovitz, ''Unpacking Duchamp: Art in Transit''], University of California Press, 1998, pp. 124, 133, {{ISBN|0520213769}}</ref> He referred to his work as "[[Readymades of Marcel Duchamp|Readymades]]".<ref name="Tomkins page 158">Tomkins: ''Duchamp: A Biography'', page 158.</ref> The ''[[Fountain (Duchamp)|Fountain]]'' was a urinal signed with the pseudonym R. Mutt, which shocked the art world in 1917.<ref>[http://www.golob-gm.si/5-marcel-duchamp-as-rectified-readymade/f-marcel-duchamp-fountain.htm#FNanchor_17 William A. Camfield, ''Marcel Duchamp's Fountain, Its History and Aesthetics in the Context of 1917'' (Part 1)], Dada/Surrealism 16 (1987): pp. 64-94.</ref> This and Duchamp's other works are generally labelled as [[Dada]]. Duchamp can be seen as a precursor to [[conceptual art]]. Some critics question calling Duchamp—whose obsession with [[paradox]] is well known—postmodernist on the grounds he eschews any specific medium, since paradox is not medium-specific, although it arose first in Manet's paintings.<ref>[https://www.artforum.com/print/201402/thierry-de-duve-on-the-salon-des-refuses-45017 ''THE INVENTION OF NON-ART: A HISTORY'' ArtForum International]</ref>

[[Dadaism]] can be viewed as part of the modernist propensity to challenge established styles and forms, along with [[Surrealism]], [[Futurism]] and Abstract Expressionism.<ref>Simon Malpas, ''The Postmodern'', Routledge, 2005. p17. {{ISBN|978-0-415-28064-8}}</ref> From a chronological point of view, Dada is located solidly within modernism, however a number of critics hold it anticipates postmodernism, while others, such as [[Ihab Hassan]] and [[Steven Connor]], consider it a possible changeover point between modernism and postmodernism.<ref>Mark A. Pegrum, ''Challenging Modernity: Dada Between Modern and Postmodern'', Berghahn Books, 2000, pp2-3. {{ISBN|978-1-57181-130-1}}</ref> For example, according to McEvilly, postmodernism begins with realizing one no longer believes in the myth of progress, and Duchamp sensed this in 1914 when he changed from a modernist practice to a postmodernist one, "abjuring aesthetic delectation, transcendent ambition, and tour de force demonstrations of formal agility in favor of aesthetic indifference, acknowledgement of the ordinary world, and the found object or readymade."<ref name="McEvilly27">Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, ''Beauty Is Nowhere: Ethical Issues in Art and Design'', Routledge, 1998. p27. {{ISBN|978-90-5701-311-9}}</ref>