The web of perception: reinterpreting Duchamp’s ‘Mile of String’ in First Papers of Surrealism

In 1942, a group of Surrealist artists led by André Breton—then living in exile following the Nazi occupation of Western Europe—organised the first Surrealist exhibition in the United States. Entitled First Papers of Surrealism, the exhibition presented works by more than thirty artists, including objects then categorised as ‘primitive art'. Marcel Duchamp's installation was one of the most daring exhibitions of the early 20th century, installing the entire gallery space with his so‐called ‘Mile of String'. This web‐like structure by Duchamp not only gave Breton and the Surrealists a scandalous success that exceeded their expectations but also almost completely wiped out the visibility of some of their works that should have attracted attention. The string in this exhibition has often been discussed as a barrier, as T.J. Demo called it ‘the greatest obstacle between the painting and the viewing space'. This essay aims to reassess prevailing interpretations by examining ‘Mile of String' as a transparent medium that reconfigured the dynamics of spectatorship. In this light, the discussion situates Duchamp’s installation within broader Surrealist exhibition strategies, demonstrating how it invited spectators to engage critically and imaginatively with art beyond conventional dualisms.