Duchamp produced four editions of the Rotoreliefs, the first in Paris in 1935, the second in New York in 1953, the third in Paris in 1959 and the fourth in New York in 1963. In this edition the six discs are contained within a circular black cardboard holder and held in place by a cardboard sleeve that, when folded into a square, also serves as a stand on which discs are placed, raising them above the record player’s turntable. The sleeve also serves as the instruction sheet for operating the Rotoreliefs. On one of the four panels is an image of the functioning Rotorelief turntable. Another features the following information along with a replica of Duchamp’s signature: 12 Rotoreliefs: These discs, turning at an approximate speed of 33 revolutions per minute will give an impression of depth and the optical illusion should be more intense with one eye than with two. The 12 drawings will be best seen kept in their black frame, the larger ones through the larger side of the frame. In order to make use of the turntable of the longplaying record machine, see drawing showing how to place the pack of discs above the pin, on white cardboard. Duchamp had a longstanding interest in optics. He understood perception as a skewed representation of ‘reality’ and devoted a number of exercises to considering that point. As well as the various editions of the Rotoreliefs, other key works from his oeuvre which demonstrate his ongoing interest in the subject include Rotary Glass Plates, 1920; Anemic Cinema, 1926, and his last great work Étant donnés, 1946-66.