Marcel Duchamp was the artist who played mostly with double-meaning while naming his Ready-made.
The readymade involves taking mundane, often useful objects not considered to be art and transform them in "Art object" by altering or simply renaming and placing them in a gallery setting.

L.H.O.O.Q is a rectified ready-made made in 1919 by Marcel Duchamp and signed Rrose Sélavy.

L.H.O.O.Q. is a cheap postcard reproduction of Leonardo da Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title.

According to Duchamp, the mental act of choosing adds an aesthetic value to the artwork, a different attitude towards reality, while technical skill is only a manual work.

According to Fabrizio Ruggiero technical skill can be a very sophisticated process, a deep mental action and, nonetheless, the linguistic gap producing a variation in meaning inside an idiom, often with funny results, has nothing whatever to do with visual arts.

Fabrizio Ruggiero, Every drops counts, Home toilet bowl by Rrose Sélavy.
print on Arches paper, cm 48x35, edition of 10

Painting is not made of words, painting has no sound. Painting does not wait for ears ready for listening but eyes ready to watch. Painting suggests the inexpressible, a glimpse of something that can be captured "in-between" or behind the experience; something that cannot be told because painting has no words, but that painting can express because it consists of signs and colors, the very things that words are missing.

In the last twenty years, starting with this concept, Fabrizio Ruggiero used Duchamp's objects as subjects for his frescoes, thus giving them a different meaning. Fabrizio Ruggiero collected in his capacious Boîte-en-valise II, red. (2011) his controversial artworks on Duchamp's Ready-made.
preparatory sketches for his anamorphic view of Nu descendant un escalier, Celeste! (1989),
Ariadne and Dionysus (3d virtual model of the Ready-made A bruit secret)
Fresco portrait of Marcel Duchamp with piercing (2008) and other works