“Picabia was drinking more and more heavily and working himself into a manic state that would eventually lead to a nervous breakdown. Insatiably priapic, he embarked that summer on an affair with Isadora Duncan. At the same time he was painting some of the best pictures of his entire career, writing poetry, and putting out an avant-garde magazine called 391, wich he had started in Barcelona a few months earlier. (More casual and free-wheeling than Marius de Zaya’s 291, 391 served mainly as an outlet to Picabia’s ideas, jokes, insults, and provocations). Picabia considered The Blind Man a rival to 391, and one night at the Arensbergs’ he challenged Roché to a chess match that would decide the fate of the two magazines; Picabia’s victory doomed The Blind Man, wich ceased publication after its second issue. Duchamp and Roché printed the score of the chess game in Rongwrong, an eight-page one-shot publication that they brought out in July. The title was a printer’s error that Duchamp decided to retain – it was supposed to be Wrongwrong; the magazine itself is of no great interest aside from its cover, wich reproduces a mildly scatological illustration (taken from a book of matches) of two dogs sniffing each other’s rear ends. The cost of printing these ephemeral little magazines was negligible in those days, wich was one reason there were so many of them.”

Calvin Tompkins in Duchamp: A Biography (Henry Holt and Company, 1996)

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Francis Picabia . 391 / Henri-Pierre Roché . The Blind Man (1917)