In Nick Fudge's Picasso Pizazz collection, the contexts of modernism and postmodernism are introduced through the genre of portraiture, weaving them into our current metamodern discourse on the art of the past in relation to a seemingly technologically determined future. This approach serves to recontextualize the impact of machines on modernist art and values. The collection focuses on two of the most influential artists of the twentieth century, Picasso and Duchamp, who had distinctly different attitudes and approaches to the concept and practice of art and machines and machine aesthetics.

Fudge is an expert on Duchamp's life and work. He has incorporated key Duchampian concepts, such as delay, the hidden, art-as-reproduction, etc., into his art practice and contextual strategies. This collection humorously explores some of Duchamp's more esoteric concepts, such as the bachelor (machine), the infra-slim, and chance. Picasso Pizazz contrasts Duchamp's sparsely analytical production with Picasso's protean, hallucinatory formalism, which profoundly influenced modern art's stylistic development and commodification.

Fudge has been incorporating modern and postmodern aesthetics and ideas into his digital work for three decades, most recently linking Duchamp's Readymades and Picasso's protean stylistic experiments with AI image generation and machine learning to critique and continue their legacies. Including a digitized portrait of the eccentric French composer Erik Satie adds a musically idiosyncratic tone, unconventional style, and whimsy to the collection.

Picasso Pizazz is a profound reflection on art's past, present, and future.