“In his designs for bookbindings and jackets, Duchamp often made user of the continuity between front and back: in the chess book L’Opposition et les cases conjuguées sont reconciliées, 1932; in the designs for Hebdomeros and Ubu, executed by Mary Reynolds, 1935; in the cover made for Anthologie de l’humour noir, 1940; in First Papers of Surrealism, 1942; in VVV Almanac for 1943; in Le Surréalisme en 1947; in Jaquette, the rejected jacket design for Rudi Blesh’s Modern Art USA; and in his own exhibition catalogues for Pasadena, 1963 (Bib. 70), and Cordier & Ekstrom, 1965 (Bib. 72). In 1922, Duchamp and Rrose Sélavy planned an endless book: ‘a round book i.e. without beginning or end . .  with the back made of rings around which the pages turn’ (Bib. 24, no. 66). This idea took shape as Some French Moderns Says McBride (Bib. 6)”

(Ecke Bonk, Marcel Duchamp: The Portable Museum, note 22, p. 162.)