The group show “Strategic Vandalism: The Legacy of Asger Jorn’s Modification Paintings” examines the myriad ways artists have used pre-existing objects and methodologies to create superior processes and attitudes. The point of departure provides Asger Jorn’s seminal exhibition at Galerie Rive Gauche in 1959 where he manipulated a suite of lowbrow paintings into a new avant-garde context. “Détournement”, as defined by Guy Debord and Gil Wolman in 1956, where existing works of art are merely tools with which to create more art, has since become a main stay of many modern and contemporary art practices. The Ur-Vaters of this concept, of course, are Dadaists Marcel Duchamp and Francis Picabia, represented here with Duchamp’s famous mustachioed Mona Lisa, and Picabia’s repurposed beer advertisement from 1925. While exhibitions with this kind of breadth always set themselves up for major omissions, the twenty-nine assembled artists, which also include Stephen Prina, David Wojnarowicz, Alexis Smith, R.H. Quaytman, John Stezaker and Hans-Peter Feldman among others, make up for it with the sheer ingenuity of their work. Here is Betty Tompkins’ “Women Words (Grant Wood #1)”, 2017, a feminist détournement where the work of art as well as the female protagonist is simultaneously rendered subject and object. At Petzel through April 13.