The Blindman

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The Blindman was an art and Dada journal published by the New York Dadaists in two issues in 1917, being edited by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché.

Henri-Pierre Roche, Beatrice Wood, and Mina Loy contributed to the first, Independents' Number issue; Walter Arensberg (Axiom, Theorem, poems), Gabrielle Buffet-Picabia (Marie Laurencin, essay), Robert Carlton (Bob) Brown (poems), Frank Crowninshield (letter), Charles Demuth (For Richard Mutt, poem), Marcel Duchamp, Charles Duncan (poem), an essay about Louis Michael Eilshemius, Mina Loy (prose), Louise Norton (essay), Francis Picabia (Medusa, poem), Joseph Stella (Coney Island, picture), Frances Simpson Stevens (1894-1976) (poem), Alfred Stieglitz (Fountain by R. Mutt, photography; letter) and Clara Tice (drawing) to the second.

Volume 2 is best known for the group's reaction to the rejection of Duchamp's Fountain to a 1917 unjuried art show.

The deluxe version is printed on fine Japanese Vellum paper, the standard version on standard non glossy paper.


The Blindman: Independents' Number 1 (Apr 1917). 8 pages, 28 x 20,5 cm. PDF.
P.B.T. The Blind Man 2 (May 1917). 16 pages, 28 x 20,5 cm. PDF.

The above PDFs are sourced from Bibliothèque Kandinsky.


  • 3 New York Dadas and the Blind Man: Marcel Duchamp, Henri-Pierre Roché, Beatrice Wood, London: Atlas, 2014. [2]
  • The Blind Man, intro. Sophie Seita, trans. Elizabeth Zuba, Brooklyn, NY: Ugly Ducklings Presse, 2017, 80 pp. Facsimile ed.; also includes a reproduction of Beatrice Wood’s poster for The Blind Man’s Ball (1917) and a facsimile of Man Ray’s The Ridgefield Gazook (1915). Translations of the French texts accompany the reprints. [3]



Avant-garde and modernist magazines

Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38).