Wittgenstein reflects on memory, saying that photograph is not reliable, and the memory-image cannot convince us either, since "memory does not show us the past, any more than our senses show us the present," and "memory is itself conditioned by the specificity of context." Reading closely the conceptual artist Joseph Kosuth's large art exhibition, called "The Play of the Unsayable," Marjorie Perloff relates Wittgenstein's theory of language game to Kosuth's art text of Abridged in Ghent, and argues that the language game initiated by a sentence like "I see us still, sitting at the table" is charged with possibilities for "philosophy" as a "form of poetic composition." Wittgenstein's Ladder is an apt figure for Marjorie Perloff's radical aesthetic which is ethical as well, doing the right thing for the individual poets, moving up the ladder which Gertrude Stein called "beginning again and again," but with changes with repetition in a spiral way. Later in her preface of Unoriginal Genius: Poetry by Other Means in the New Century (2010), Marjorie provides her rationale to update her earlier work, Radical Artifice: Writing Poetry in the Age of Media (1991) in terms of a "new citational and often constrained-bound poetry" in an environment of "hyper-information." Since Unoriginal Genius (2010), Perloff traces her poetics of "unoriginal genius" from a Benjamian Arcades Project, made up of creative citations, discussing the processes of choice, framing, and reconfiguration. It is my contention that Marjorie Perloff as the critic par excellence has been dedicating her own Arcades Project to explore the intriguing development in contemporary poetry, creatively embracing the "unoriginal" writing of uncreative poets (Email: yk4147@ gmail.com).