Executed in 1972 from a series of 10 collages and published by Luciano Anselmino, Torino, Italy in a numbered edition of 100. The present set is an artist's proof portfolio. Each work contains a unique title: Mime (I); Long Distance (II); Orchestra (III); The Meeting (IV); Legend (V); Decanter (VI); Jeune Fille (VII); Shadows (VIII); Concrete Mixer (IX) and Dragon Fly (X).

Originally conceived as a series of collages in 1916–17, Revolving Doors includes ten works whose compositions combine mechanical, geometric forms with their opposing natural, biomorphic forms. In 1942, the artist would later make a series of oil paintings based on these collages. The series was also published as pochoirs by Éditions Surréalistes in Paris in 1926, printed in the Surrealist periodical Minotaure 7, and again in a subsequent edition in 1972 by Luciano Anselmino, from which the present work derives. First exhibited to the public at Daniel Gallery, New York in 1919, the original collages were framed and installed on a rotating metal contraption that would mimic the form of a revolving door on the exterior of a building. The viewer could spin the works, which would produce a technicolor optical effect. This gesture from the viewer, the interaction between the work and its audience, was what Man Ray saw as the fourth dimension of an artwork: movement.

Each individual sheet illustrates a different theme: for example, Decanter (sheet VI) takes the subject of a decanter pouring wine into a glass, and condenses it down to simple shapes, lines and colors; in Orchestra (sheet III), all of the instruments are layered upon each other and within each other, echoing the overlapping sounds of a musical performance. In the revolving version, the three-dimensional installation of these flat works confronts and conflates the ideas of what defines dimension. This concept was simultaneously being studied by the Cubists, whose influence is apparent upon the artist in the present work, breaking subjects down to their simplest forms and modifying their perspective within the composition. Man Ray was able to take these works on paper and turn them into sculpture. Furthermore, the interaction of the viewer enhances the sculpture from an object to an interaction, blurring the lines between the two; this would become a key element in the artist’s Dada works.