  Even in this tradition, however, the artists’ appropriations are never truly random but invariably require some selection, presentation, and the like, and thus inevitably reopen interpretive questions about the significance these art objects have for the artistic subject who chose them. (Why this particular object? Why present it in just this way?) It is thus not surprising that the founding work of found “anti-art,” Duchamp’s  “Fountain” (1917)—his deliciously seditious installation of a deliberately inverted, humorously signed (by “R. Mutt”), and brilliantly re-titled urinal in an art gallery—is typically treated in contemporary aesthetics as an extreme expression of Duchamp’s own artistic subjectivity, not as its  absence.[17] Here one could also point to the failure of Robert Rauschenberg’s attempt to deconstruct the found art ideal of unique and spontaneous invention in his incredible “combines,”  “Factum I and Factum II,” works which, despite Rauschenberg’s painstaking efforts to make them identical, instead work to suggest the stubborn uniqueness of any given artwork. So, even the found art tradition of the readymade and its heirs reinforces Heidegger’s point that, in the basic aesthetic approach to art, art objects are implicitly understood as meaningful expressions of artists’ lives that are capable of eliciting particularly intense or meaningful experiences in viewing subjects.