I just finished my essay for The Glass Reader. In it, I argue that objects from the past are just as current as works made now...here is the first paragraph:
Has the artworld moved beyond The Large Glass? I am speaking of Marcel Duchamp’s double-paned sculpture constructed a century ago. Is it truly contemporary in its provocation and prescience? Can The Large Glass stand up to the insistent allure of our digital technology and screen culture? And, more radical still, do other modern glass forms that are physically overlooked and critically dismissed join Duchamp’s masterpiece in its presentness? I contend that a hundred years out, three different types of 1920s glass manufacture—the studio objects of Marcel Duchamp, the workshop prototypes of Josef Albers, and the factory commodities of Guerlain and Chanel—are both current and compelling.