Abstract
Taking my cue from two authors read closely by Marcel Duchamp in 1913, Pyrrho and Max Stirner, I explore the links the French artist established between scepticism and anarchism at a turning point in his theory and practice of art, especially as he started the fabrication of ready-mades. Both Pyrrho and Stirner extol the liberty of indifference that can be gained from ataraxia in the severing of all ideological bonds. Having reached a crucial point of undecidability, Duchamp was able not to choose between a Pyrrhic victory over the meaninglessness of death and the Pyrrhonian transcendence of art as revolutionary thinking.
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