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This lavish title focuses for the first time on Picabia's late work consisting mainly of nudes, which is a break from the Dadaist work for which history has lauded him.
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An iconoclastic poet and painter, open to everything that was "other" and different, responsive to any form of newness - not only in art but to such external realities as machines - Francis Picabia never needed to define himself as a "modern." "Surmodern" rather than modern, he, like his early comrade Marcel Duchamp,
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