Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction

The artists also said "The only movement is perpetual movement."  A retrospective of Picabia's ever-changing work at MoMA offers an exhilarating ride through the first half of the 20th century and cements his protean reputation as the wise-guy of modern art.

He began as an Impressionist in the early 1900s,

earning the scorn of his more established peers because he sometimes painted from postcards instead of real life,

and quickly veered into Cubism . . .

before making a Dada pit stop.

His color sense can't be beat.

In 1924, Picabia collaborated with Rene Clair on "Entr'acte," a beautiful and funny surrealistic film that runs nearly half an hour.  It's occasionally pervy, too.

You have to love the mourners dancing behind an edible hearse drawn by a camel through the streets of Paris.

A notorious playboy, half-Cuban and French, Picabia adored women.

He created a literal matchstick girl

Gertrude Stein sat for him . . .

and soft porn inspired some of his kitschiest work,

including this woman looking over his shoulder in "The Wandering Jew," an oddly titled self-portrait.

Picabia didn't take much seriously, especially coupling.

But even a committed Dadaist recognized the evils of fascism.  "Calf Worship" certainly resonates today.  Just add an orange wig.

Picabia crossed the finish line painting the kind of severe abstractions that leave me cold, although this upside down pig is kinda cool.

Thanks for free Friday evenings at MoMA, Uniqlo!