Finding humor in a two-part Bach invention

In the score below the main motive is marked with blue, while a second motive is marked in red (beginning in bar 3). This second motive gets a new outline in bar 14. What is new is not so much the inversion of the first three notes, but the repetition of the motive after only six 16th notes. This suggests that the “new” motive is in 3/8.

As this continues, it gets even more complicated, see e.g. bar 19 or 24.

We can of course ignore this – or even call it a misreading. If the second motive is played, as most do, anonymous, it can hide itself, but articulated more sharply (amplifying its 3/8-potentiale), this movement falls apart in the end. The crazy humorous final statement is not what we normally expect from Bach.