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Remington's elusive paintings totemize their subject's shiny surface as opaquely convcieved objects, impossible to discern the function but given to look important, as though they could be given to mean. The clean hard lines of the futurists and Klapheck predicted not the future but the desire for what it would be, the advertisement of it, when instead it was dirty, messed, with everything clean attached to everything else. The idea of seeing an object "clean" is itself surrealist.