Since the 1970s, Sherrie Levine has mined the patrilineal canon of art history by reproducing iconic modernist works originally made by men, but with perceptible modifications. By duplicating extant artworks with alternative materials, Levine pays homage to Marcel Duchamp’s famous concept of the readymade while expanding upon the appropriative practices of her contemporaries. La Fortune (After Man Ray), 1990, in Glenstone’s collection, presents a life-size sculpture of a mahogany billiard table, as excerpted from Man Ray’s 1938 painting La Fortune. Levine translates an object from the two-dimensional painting into three-dimensional sculpture, exchanging the original table’s elongated, surrealistic quality for traditional proportions. Through appropriation, Levine destabilizes any easy understanding of this history, complicating our notions of originality, authenticity, and art itself.

–From the Glenstone Field Guide