 Irene Gammel argues that the piece is more in line with the scatological aesthetics of Duchamp's friend, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.The other possible, and more probable, "female friend" is Louise Norton (later Varèse), who contributed an essay to "The Blind Man" discussing "Fountain".Norton, who recently had separated from her husband, was living at the time in an apartment owned by her parents at 110 West 88th Street in New York City, and this address is partially discernible (along with "Richard Mutt") on the paper entry ticket attached to the object, as seen in Stieglitz's photograph.