In TIBA: A New Art Form Following In The Footsteps Of DADA, Bruce E. Dall, proposes a formally articulated extension of the "readymade" tradition grounded not in industrial detachment, but in embodied temporality. The book introduces TIBA (Temporarily In Body Art) as a new material category within contemporary art: obsolete spinal surgical implants that were once temporarily integrated into living human bodies. Dall situates TIBA within the lineage of Marcel Duchamp and the early twentieth-century rupture initiated by Dada, yet he carefully distinguishes his project from the irony and negation that characterized much of that movement. Where Dada destabilized authorship through industrial objects, TIBA re frames objects that carry biological history. The implants are not neutral manufactured goods; they are artifacts shaped by therapeutic intervention, technological obsolescence, and lived human experience.The book’s strength lies in its interdisciplinary reach. Dall draws from art history, archaeology, medical ethics, and material culture studies to argue that surgical hardware—once removed, sterilized, and ethically released—can be understood as archaeological evidence of the industrial medical age. His reconstruction of Paleolithic cave imagery through these materials positions contemporary medicine within a 40,000-year continuum of survival-based image-making. At times polemical in its claim to inaugurate a “new art form,” the text nevertheless presents a coherent philosophical framework supported by ethical clarity and conceptual rigor. TIBA ultimately asks readers to reconsider what defines the materials of an era and how technological remnants may become cultural record.Whether read as manifesto, theoretical treatise, or interdisciplinary inquiry, Dall’s book contributes a provocative and thoughtfully argued expansion of post-Dada material logic.