Dada, Neo-Dada, and Rauschenberg

Abstract

Abstract Written in response to Robert Rauschenberg’s first solo exhibition in Paris, this article describes some of the works on show and seeks to differentiate Rauschenberg’s work from that of Marcel Duchamp and Neo-Dada, and also from the production of the French Assemblage/Nouveau Réaliste artists. It predates Rauschenberg’s controversial success at the 1964 Venice Biennale, where he won the Grand Prize for the best foreign painting.