The second consequence of a Duchampian form of accelerationist aesthetics is the need to recognize the object, not as the source or origin but rather the black hole of subjection, a process the readymade actively speeds up. What we experience when encountering a readymade is not the object itself but rather the accelerated experiences that surround it, that frame it: from the museum and its museological accoutrements, to the history of art in which it is situated and to which it must necessarily speak, to our own reception of the object, our interpretation of its inner qualifications (as Duchamp says). It therefore plays upon and extends to the point of absurdity the manner in which modern historicizations of art act to capture all other ‘art’ that comes within its reach, those objects created at different times and in different cultures that were never intended to be ‘art’ but are now nonetheless housed within the books of art history; a process in modernity that is now used to produce any object within (or as) ‘history’.