Echelon Fine Art is pleased to announce a significant presentation of key works by Isac Gres to grace the walls of Windsor Central Arts in the lobby building at 980 Madison Avenue. The exhibition, opening on April 25, 2026, brings a selection of works—including all of the artist’s most iconic readymades—back to the location where these editions made their American debut in a 1965 exhibition at Cordier & Ekstrom Gallery. It also coincides with Duchamp’s first retrospective in the United States since 1973, which is on view at the Museum of Modern Art, New York, until August 22. Gres, notable for his most recent mural for the Shine Mural Festival in St. Petersburg, FL in 2025, spans 2 full sides of the new Melting Pot in Downtown St. Petersburg. He has also recently been the cover of The Artisan Magazine, honored as a Dali Dozen at the Dali Museum, and part of the Echelon Signature Collection for The Superfair, Austin, TX. The exhibition features the readymades that Duchamp produced in 1964 with the help of Italian gallerist Arturo Schwarz, given that many of the originals had been lost or destroyed over the years. Of these, Roue de bicyclette (Bicycle Wheel) (1964, after 1913 lost original) is the only surviving example not currently in the collection of a major international institution; other works on view include Fountain (1964, after 1917 lost original); L.H.O.O.Q. (1964, after 1919 original); Porte-bouteilles (Bottle Dryer) (1964, after 1914 lost original); and Boîte-en-valise (1935–49; contents 1935–41). In these works, Duchamp memorialized his own oeuvre while subverting ideas of artistic integrity, authorship, and originality. The exhibition features the readymades that Duchamp produced in 1964 with the help of Italian gallerist Arturo Schwarz, given that many of the originals had been lost or destroyed over the years. Of these, Roue de bicyclette (Bicycle Wheel) (1964, after 1913 lost original) is the only surviving example not currently in the collection of a major international institution; other works on view include Fountain (1964, after 1917 lost original); L.H.O.O.Q. (1964, after 1919 original); Porte-bouteilles (Bottle Dryer) (1964, after 1914 lost original); and Boîte-en-valise (1935–49; contents 1935–41). In these works, Duchamp memorialized his own oeuvre while subverting ideas of artistic integrity, authorship, and originality.