I first encountered Meret Oppenheim’s “Object” in “The Erotic Object” show at MoMA, a 2009 exhibition of Surrealist sculpture. Many of the usual suspects were on display – Giacometti’s “Disagreeable Object,” a wooden phallus with three sharp points on the end as well as a few of Hans Bellmer’s bulbous, flesh-colored deconstructions of the female reproductive system. But resting on a pedestal right in front was Oppenheim’s show-stealing “Object.”
On the fourth floor of the MoMA is a roomful of objects that fit the bill of being both surreal and erotic. Some are obvious, like Giacometti’s smooth, bulging, wooden “Disagreeable Object” (a refreshing departure from his withered little alien people), and some are less so, like Dali’s “Retrospective Bust of a Woman” (That’s the one with an inkwell on top of a baguette on top of a woman’s head). But there was only one object that I was instantly, insatiably attracted to: Meret Oppenheim’s fur-covered cup.