The installation realises the cross-over of personal archive, art-history anthology and wonder-room. The wonder-room (‘Wunderkammer’) as a prototype of the museum assembles a variety of objects that produce peculiar morphologies. Following this tradition Atul’s ‘hero-trophies’ mounted on wall shelves recall the excessive encyclopaedic urge with which the owners of the ‘wonder-rooms’ collected and displayed artefacts. Atul Dodiya’s ‘wonder-room’ takes the form of an ancestral portrait gallery with the most famous icon Marcel Duchamp looking like a 'fallen angel'. The artist acts as an archivist, ‘arranger’ and collector, whose work pays homage to the artistic ancestry, yet ironises the glorification and mystification of the revered idols.