It began with a joke over lunch. In 1936, Meret Oppenheim was at a Paris café with Dora Maar and Pablo Picasso, who noticed the fur-lined, polished metal bracelet she was wearing and joked that anything could be covered with fur. “Even this cup and saucer,” Oppenheim replied and, carrying the merriment further, called out, “Waiter, a little more fur!”2 Her devilish imagination duly sparked, the artist went to a department store not long after this meal, bought a white teacup, saucer, and spoon, wrapped them in the speckled tan fur of a Chinese gazelle, and titled this ensemble Object. In doing so, she transformed items traditionally associated with decorum and feminine refinement into a confounding Surrealist sculpture. Object exemplifies the poet and founder of Surrealism André Breton’s argument that mundane things presented in unexpected ways had the power to challenge reason, to urge the inhibited and uninitiated (that is, the rest of society) to connect to their subconscious—whether they were ready for it or, more likely, not.
Exerpt from MoMa, New York