Sven Regener’s ‚Der kleine Bruder‘ refers frequently to both Marcel Duchamp’s theory of art and artwork. Therefor the novel discusses anthropological, authorial, autonomous and institutionalist conceptions of art as well as those of reception-aesthetics – conceptions Duchamp himself dealt and struggled with throughout his whole life. Within in a single chapter ‚Haut der Stadt‘, Regener manages to reflect upon both compatibility of those conceptions and Duchamp’s efforts in conceptualising his own art. This article aims to demonstrate, that Duchamp’s art theory and art practice are not only narratively arranged, but also are extrapolated and critically tested within the novel. Reconstructing this certain relationship among text and context, it elucidates the possibility of handling theories narratively.