s on occasion, as parts of large-scale installations, Oldenburg preferred to "rebuil[d] the whole thing, and that way [he] had it both ways. It was a work of art and an object" (Oldenburg, quoted in Friedman, 1975, p. 10).
This approach to the object marked one of the primary differences between Oldenburg's art and that of the Pop Art group. Where the Pop painters chose to "imitate the slick, processed surface of pop culture," Oldenburg wanted to "touch, squash, stroke, absorb, digest, and become what he saw, converting the most unlikely objects into metaphors of the body and the self" (Hughes, 1980, p. 356). The Pop artists were interested in the ways in which mass culture imposed itself via various objects. And, in a similar way, Dadaists, such as Marcel Duchamp, were concerned with the ways in which traditional high art imposed itself on society. Duchamp's Readymades, for example, were anti-art, ordered from stores and installed in gallery spaces in the same manner as the works of painters and sculptors. The Readymades included such objects
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