Readymade aesthetics depend upon the possibility of failure, the ­possibility that the creative act can and does fail. One of the core problematics that emerge out of modern historicizations of art is the reluctance and even refusal to experience those moments when an object is unable to hail or interpellate its subject. Can any of us honestly say that every time we set eyes on a celebrated work of art it calls to us? That there are not times when we experience nothing? When the Mona Lisa is just a small painting with lots of people crowded around it?