| Abstract
When the readymade emerged as the central category of the art object during the late sixties, and thenceforth changed the production of art fundamentally, The Fountain became, retrospectively, the prime object of reference. Art production of today can’t be thought of without the notion of readymade deeply rooted in its very definition. It is thus curious, that the “unassisted readymade”, of which Fountain is the parameter, is totally absent -- or rather: invisible -- in the arts from the 60s and onwards. The reason for this is, we believe, with the readymade as a mode in the production of art, follows, with necessity, the concept of fake. This case-study of Fountain will try to make this point.
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