View source for Conceptual art

{{short description|Art movement}}
{{distinguish|concept art|philosophical conceptualism}}
[[File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|thumb|260px|[[Marcel Duchamp]], ''[[Fountain (Duchamp)|Fountain]],'' 1917. Photograph by [[Alfred Stieglitz]]]]
[[Image:Iris Clert Portrait Rauschenberg.jpg|thumb|260px|[[Robert Rauschenberg]], ''Portrait of [[Iris Clert]]'' 1961]]
[[File:Art-LanguageV3No1-1974.jpg|thumb|260px|[[Art & Language]], ''[[Art-Language]]'' Vol. 3 Nr. 1, 1974]]
'''Conceptual art''', also referred to as '''conceptualism''', is [[art]] in which the [[concept]](s) or [[idea]](s) involved in the work are prioritized equally to or more than traditional [[Aesthetics|aesthetic]], technical, and material concerns. Some works of conceptual art may be constructed by anyone simply by following a set of written instructions.<ref>{{cite web |url=http://www.franklinfurnace.org/history/flow/lewitt/lewitt.html|archive-url=https://web.archive.org/web/20070302213039/http://www.franklinfurnace.org/history/flow/lewitt/lewitt.html |title=Wall Drawing 811 – Sol LeWitt |archive-date=2 March 2007 }}</ref> This method was fundamental to American artist [[Sol LeWitt]]'s definition of conceptual art, one of the first to appear in print:

{{blockquote|In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.<ref>[[Sol LeWitt]] "Paragraphs on Conceptual Art", ''Artforum'', June 1967.</ref>}}

Tony Godfrey, author of ''Conceptual Art (Art & Ideas)'' (1998), asserts that conceptual art questions the nature of art,<ref>{{cite book |title=Conceptual Art (Art & Ideas) |author=Godrey, Tony |year=1988 |isbn= 978-0-7148-3388-0 |publisher=London: Phaidon Press Ltd}}</ref> a notion that [[Joseph Kosuth]] elevated to a definition of art itself in his seminal, early manifesto of conceptual art, ''Art after Philosophy'' (1969). The notion that art should examine its own nature was already a potent aspect of the influential art critic [[Clement Greenberg]]'s vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as [[Art & Language]], Joseph Kosuth (who became the American editor of [[Art-Language The Journal of conceptual art|Art-Language]]), and [[Lawrence Weiner]] began a far more radical interrogation of art than was previously possible (see [[#Language and/as art|below]]). One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of [[physical art|material objects]].<ref>Joseph Kosuth, ''Art After Philosophy'' (1969). Reprinted in Peter Osborne, ''Conceptual Art: Themes and Movements'', Phaidon, London, 2002. p. 232</ref><ref>Art & Language, [[Art-Language The Journal of conceptual art]]: Introduction (1969). Reprinted in Osborne (2002) p. 230</ref><ref>Ian Burn, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.g. "The outcome of much of the 'conceptual' work of the past two years has been to carefully clear the air of objects."</ref>
 
Through its association with the [[Young British Artists]] and the [[Turner Prize]] during the 1990s, in popular usage, particularly in the United Kingdom, "conceptual art" came to denote all [[contemporary art]] that does not practice the traditional skills of [[painting]] and [[sculpture]].<ref name=tateconceptual>"[https://web.archive.org/web/20041211013930/http://www.tate.org.uk/britain/turnerprize/history/issue_conceptual.htm Turner Prize history: Conceptual art]". Tate Gallery. tate.org.uk. Accessed August 8, 2006</ref> One of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist [[Mel Bochner]] suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention". Thus, in describing or defining a [[work of art]] as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention".

==Precursors==
The French artist [[Marcel Duchamp]] paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the [[readymade]]s, for instance. The most famous of Duchamp's readymades was ''[[Fountain (Duchamp)|Fountain]]'' (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent Artists in New York (which rejected it).<ref>
Tony Godfrey, Conceptual Art, London: 1998. p. 28
</ref> The artistic tradition does not see a commonplace object (such as a urinal) as art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later acknowledged by American artist Joseph Kosuth in his 1969 essay, ''Art after Philosophy'', when he wrote: "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually".

In 1956 the founder of [[Lettrism]], [[Isidore Isou]], developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. This concept, also called ''Art esthapériste'' (or "infinite-aesthetics"), derived from the [[infinitesimals]] of [[Gottfried Wilhelm Leibniz]] – quantities which could not actually exist except conceptually. The current incarnation ({{as of | 2013}}) of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small.

==Origins==
In 1961, philosopher and artist [[Henry Flynt]] coined the term "concept art" in an article bearing the same name which appeared in the proto-[[Fluxus]] publication ''[[An Anthology of Chance Operations]]''.<ref>{{Cite web|url=http://www.henryflynt.org/aesthetics/conart.html|title=Essay: Concept Art|website=www.henryflynt.org}}</ref> Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism", in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the [[syntax]] of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious [[art music]] circles.<ref>{{Cite web|url=http://www.henryflynt.org/meta_tech/crystal.html|title=The Crystallization of Concept Art in 1961|website=www.henryflynt.org}}</ref> Therefore, Flynt maintained, to merit the label ''concept art'', a work had to be a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent from subsequent "conceptual art".<ref>Henry Flynt, "Concept-Art (1962)", Translated and introduced by Nicolas Feuillie, Les presses du réel, Avant-gardes, Dijon.</ref>

The term assumed a different meaning when employed by Joseph Kosuth and by the English [[Art and Language]] group, who discarded the conventional art object in favour of a documented critical inquiry, that began in ''[[Art-Language|Art-Language: The Journal of Conceptual Art]]'' in 1969, into the artist's social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 ''Conceptual Art and Conceptual Aspects'', the first dedicated conceptual-art exhibition, took place at the [[New York Cultural Center]].<ref>{{Cite web|url=https://www.artlex.com/art-terms/c/conceptual-art/|archiveurl=https://web.archive.org/web/20130516162830/http://www.artlex.com/ArtLex/c/conceptualart.html|url-status=dead|title=Conceptual Art (Conceptualism) – Artlex|archivedate=May 16, 2013}}</ref>

==The critique of formalism and of the commodification of art==
Conceptual art emerged as a movement during the 1960s – in part as a reaction against [[Formalism (art)|formalism]] as then articulated by the influential [[New York City|New York]] [[art critic]] [[Clement Greenberg]]. According to Greenberg [[Modern art]] followed a process of progressive reduction and refinement toward the goal of defining the essential, [[formalism (art)|formal]] nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and nothing else. As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as [[figurative art|figuration]], 3-D [[Perspective (graphical)|perspective]] illusion and references to external subject matter were all found to be extraneous to the essence of painting, and ought to be removed.<ref>Rorimer, p. 11</ref>

Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether,<ref>
Lucy Lippard & John Chandler, "The Dematerialization of Art", ''Art International'' 12:2, February 1968. Reprinted in Osborne (2002), p. 218
</ref>
while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg's kind of formalist Modernism. Later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. However, by the end of the 1960s it was certainly clear that Greenberg's stipulations for art to continue within the confines of each medium and to exclude external subject matter no longer held traction.<ref>Rorimer, p. 12</ref>
Conceptual art also reacted against the [[commodification]] of art; it attempted a subversion of the gallery or museum as the location and determiner of art, and the art market as the owner and distributor of art. [[Lawrence Weiner]] said: "Once you know about a work of mine you own it. There's no way I can climb inside somebody's head and remove it." Many conceptual artists' work can therefore only be known about through documentation which is manifested by it, e.g., photographs, written texts or displayed objects, which some might argue are not in and of themselves the art. It is sometimes (as in the work of [[Robert Barry (artist)|Robert Barry]], [[Yoko Ono]], and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of actually making it—emphasising the idea as more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and [[craft]], where art, unlike craft, takes place within and engages historical discourse: for example, Ono's "written instructions" make more sense alongside other conceptual art of the time.

[[Image:WeinerText.JPG|thumb|260px|[[Lawrence Weiner]]. ''Bits & Pieces Put Together to Present a Semblance of a Whole,'' The Walker Art Center, Minneapolis, 2005.]]
[[Image:An Oak Tree (conceptual art installation).jpg|thumb|260px|''[[An Oak Tree]]'' by [[Michael Craig-Martin]]. 1973]]
[[Image:Memorial for the Victims of Nazi Military Justice by Olaf Nicolai 02.jpg|thumb|260px|upright=1.2|Detail, ''[[Memorial for the Victims of Nazi Military Justice]]'' by monumental sculptor [[Olaf Nicolai]], [[Ballhausplatz]], Vienna]]

==Language and/as art==
Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists [[Lawrence Weiner]], [[Edward Ruscha]],<ref>{{cite web |url=http://www.artic.edu/aic/exhibitions/exhibition/ruscha |title=Ed Ruscha and Photography |date=March 1 – June 1, 2008 |publisher=The Art Institute of Chicago |access-date=14 September 2010 |archive-url=https://web.archive.org/web/20100531181852/http://www.artic.edu/aic/exhibitions/exhibition/ruscha |archive-date=31 May 2010 |url-status=dead |df=dmy-all }}</ref> [[Joseph Kosuth]], [[Robert Barry (artist)|Robert Barry]], and [[Art & Language]] begin to produce art by exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching [[Composition (visual arts)|composition]] (e.g. [[Synthetic Cubism]]), the conceptual artists used language in place of brush and canvas, and allowed it to signify in its own right.<ref>Anne Rorimer, ''New Art in the Sixties and Seventies'', Thames & Hudson, 2001; p. 71</ref> Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the language employed, while presentational means and contextual placement play crucial, yet separate, roles."<ref name="Rorimer, p. 76">Rorimer, p. 76</ref>

The British philosopher and theorist of conceptual art [[Peter Osborne (writer and academic)|Peter Osborne]] suggests that among the many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from the turn to linguistic theories of meaning in both Anglo-American [[analytic philosophy]], and [[structuralism|structuralist]] and [[post-structuralism|post structuralist]] [[Continental philosophy]] during the middle of the twentieth century. This [[linguistic turn]] "reinforced and legitimized" the direction the conceptual artists took.<ref>Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28</ref> Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art.<ref>Osborne (2002), p. 28</ref> Osborne later made the observation that contemporary art is ''[[post-conceptual]]''<ref>{{Cite web |url=http://www.fondazioneratti.org/mat/mostre/Contemporary%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf |title=Archived copy |access-date=2013-07-18 |archive-date=2016-12-06 |archive-url=https://web.archive.org/web/20161206042405/http://www.fondazioneratti.org/mat/mostre/Contemporary%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf |url-status=dead }}</ref> in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in [[Como]] on July 9, 2010. It is a claim made at the level of the [[ontology]] of the work of art (rather than say at the descriptive level of style or movement).

The American art historian [[Edward A. Shanken]] points to the example of [[Roy Ascott]] who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with [[cybernetic art]] in England, was not included in Cybernetic Serendipity because his use of [[cybernetic]]s was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of [[Lucy R. Lippard]]'s seminal ''Six Years: The Dematerialization of the Art Object from 1966 to 1972'', Ascott's anticipation of and contribution to the formation of conceptual art in Britain has received scant recognition, perhaps (and ironically) because his work was too closely allied with art-and-technology. Another vital intersection was explored in Ascott's use of the thesaurus in 1963 [http://telematic.walkerart.org/timeline/timeline_shanken.html telematic connections:: timeline], which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept that would be taken up in Joseph Kosuth's ''Second Investigation, Proposition 1'' (1968) and Mel Ramsden's ''Elements of an Incomplete Map'' (1968).

==Contemporary history==
Proto-conceptualism has roots in the rise of [[Modernism]] with, for example, [[Manet]] (1832–1883) and later [[Marcel Duchamp]] (1887–1968). The first wave of the "conceptual art" movement extended from approximately 1967<ref>
[https://www.theartstory.org/movement-conceptual-art-history-and-concepts.htm#beginnings_header Conceptual Art] – "In 1967, Sol LeWitt published ''Paragraphs on Conceptual Art'' (considered by many to be the movement's manifesto) [...]."
</ref>
to 1978. Early "concept" artists like [[Henry Flynt]] (1940– ), [[Robert Morris (artist)|Robert Morris]] (1931–2018), and [[Ray Johnson]] (1927–1995) influenced the later, widely accepted movement of conceptual art. Conceptual artists like [[Dan Graham]], [[Hans Haacke]], and [[Lawrence Weiner]] have proven very influential on subsequent artists, and well-known contemporary artists such as [[Mike Kelley (artist)|Mike Kelley]] or [[Tracey Emin]] are sometimes labeled{{By whom|date=May 2019}} "second- or third-generation" conceptualists, or "[[post-conceptual]]" artists (the prefix Post- in art can frequently be interpreted as "because of").

Contemporary artists have taken up many of the concerns of the conceptual art movement, while they may or may not term themselves "conceptual artists". Ideas such as anti-commodification, social and/or political critique, and ideas/information as [[art medium|medium]] continue to be aspects of contemporary art, especially among artists working with [[installation art]], [[performance art]], [[art intervention]], [[net.art]], and [[electronic art|electronic]]/[[digital art]].<ref>{{cite web|title= Conceptual Art – The Art Story|url= http://www.theartstory.org/movement-conceptual-art.htm|website= theartstory.org|publisher= The Art Story Foundation|access-date= 25 September 2014}}</ref>{{request quotation|date=May 2019}}

===Revival===
[[Neo-conceptual art]] describes art practices in the 1980s and particularly 1990s to date that derive from the conceptual art movement of the 1960s and 1970s.  These subsequent initiatives have included the [[Moscow Conceptualists]], United States neo-conceptualists such as [[Sherrie Levine]] and the [[Young British Artists]], notably [[Damien Hirst]] and [[Tracey Emin]] in the [[United Kingdom]].

=== Parody ===
The movement is parodied in [[Jilly Cooper]]'s 2002 novel [[Pandora (2002 novel)|Pandora]].<ref name=":0">{{Cite news |last=MacFarlane |first=Robert |date=2002-05-05 |title=Laughing all the way to the bonk |url=https://www.theguardian.com/books/2002/may/05/fiction.features2 |access-date=2025-04-15 |work=The Observer |language=en-GB |issn=0029-7712}}</ref>

==Notable examples==
[[Image:Give-if-you-can.jpg|thumb|260px|[[Jacek Tylicki]], Stone sculpture, ''Give If You Can – Take If You Have To''. Palolem Island, [[India]], 2008]]
[[Image:Barbara Kruger at ACCA, Melbourne.jpg|thumb|260px|[[Barbara Kruger]] installation detail at Melbourne]]
* 1913 : ''[[Bicycle Wheel]]'' ''(Roue de bicyclette)'' by [[Marcel Duchamp]]. Assisted readymade. Bicycle wheel mounted by its fork on a painted wooden stool. The first readymade, even though he did not have the idea for readymades until two years later. The original was lost. Also, recognized as the first kinetic sculpture.<ref>Atkins, Robert: ''Artspeak'', 1990, Abbeville Press, {{ISBN|1-55859-010-2}}</ref> 
* 1914 : ''[[Bottle Rack]]'' (also called ''Bottle Dryer'' or ''Hedgehog'') (''Egouttoir'' or ''Porte-bouteilles'' or ''Hérisson'') by [[Marcel Duchamp]]. Readymade. A galvanized iron bottle drying rack that Duchamp bought as an "already made" sculpture, but it gathered dust in the corner of his Paris studio. Two years later in 1916, in correspondence from New York with his sister, [[Suzanne Duchamp]] in France, he expresses a desire to make it a readymade. Suzanne, looking after his Paris studio, has already disposed of it.
* 1915 : ''[[In Advance of the Broken Arm]]'' ''(En prévision du bras cassé)'' by [[Marcel Duchamp]]. Readymade. [[Snow shovel]] on which Duchamp carefully painted its title. The first piece the artist officially called a "readymade".
* 1916–17 : ''[[Apolinère Enameled]]'', 1916–1917. Rectified readymade. An altered Sapolin paint advertisement.
* 1917 : ''[[Fountain (Duchamp)|Fountain]]'' by [[Marcel Duchamp]], described in an article in ''[[The Independent]]'' as the invention of conceptual art. It is also an early example of an [[Institutional Critique]]<ref>{{cite news |last= Hensher |first= Philip |title= The loo that shook the world: Duchamp, Man Ray, Picabi |url= https://www.independent.co.uk/arts-entertainment/art-and-architecture/features/the-loo-that-shook-the-world-duchamp-man-ray-picabi-784384.html |publisher= [[The Independent]] (Extra) |date= 2008-02-20 |pages= 2–5 |location= London}}</ref>
* 1917 : ''Hat Rack'' ''(Porte-chapeaux)'', {{Circa|1917}}, by [[Marcel Duchamp]]. Readymade. A wooden hatrack.<ref>Judovitz: ''Unpacking Duchamp'', [https://books.google.com/books?id=jW_eUNBun30C&lpg=PA92&pg=PA92 92–94].</ref>
* 1919 : ''[[L.H.O.O.Q.]]'' by [[Marcel Duchamp]]. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci's ''[[Mona Lisa]]'' on which he drew a [[goatee]] and [[moustache]] titled with a coarse pun.<ref>[https://www.marcelduchamp.net/duchamp-artworks] Marcel Duchamp.net, retrieved December 9, 2009</ref>
* 1921 : ''[[Why Not Sneeze, Rose Sélavy?]]'' by [[Marcel Duchamp]]. Assisted readymade. Marble cubes in the shape of sugar lumps with a thermometer and cuttle bones in a small bird cage.
* 1921 : ''[[Belle Haleine, Eau de Voilette]]'' by [[Marcel Duchamp]]. Assisted readymade. An altered perfume bottle in the original box.<ref name="Christie's Paris">[https://www.christies.com/lotfinder/Lot/marcel-duchamp-1887-1968-belle-haleine--5157362-details.aspx Marcel Duchamp, ''Belle haleine – Eau de voilette''], Collection Yves Saint Laurent et Pierre Bergé, Christie's Paris, Lot 37. 23 – 25 February 2009</ref>
* 1952 : The premiere of American [[experimental music|experimental]] composer [[John Cage]]'s work, ''4′33″,'' a three-[[movement (music)|movement]] composition, performed by pianist [[David Tudor]] on August 29, 1952, in [[Maverick Concert Hall]], [[Woodstock, New York]], as part of a recital of contemporary piano music.<ref>Kostelanetz, Richard (2003). Conversing with John Cage. New York: Routledge. {{ISBN|0-415-93792-2}}. pp. 69–71, 86, 105, 198, 218, 231.</ref> It is commonly perceived as "four minutes thirty-three seconds of [[silence]]".
* 1953 : [[Robert Rauschenberg]] produces ''[[Erased De Kooning Drawing]]'', a drawing by [[Willem de Kooning]] which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it.
* 1955 : Rhea Sue Sanders creates her first text pieces of the series ''pièces de complices'', combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.<ref>Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988</ref>
* 1958: [[George Brecht]] invents the ''Event Score''<ref>Kristine Stiles & Peter Selz, ''Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings'' (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 333</ref> which would become a central feature of Fluxus. Brecht, [[Dick Higgins]], [[Allan Kaprow]], [[Al Hansen]], [[Jackson MacLow]] and others studied with [[John Cage]] between 1958 and 1959 at the [[New School]] leading directly to the creation of [[Happenings]], [[Fluxus]] and [[Henry Flynt]]'s concept art. ''Event Scores'' are simple instructions to complete everyday tasks which can be performed publicly, privately, or not at all.
* 1958: [[Wolf Vostell]] ''Das Theater ist auf der Straße''/''The theater is on the street''. The first [[Happening]] in Europe.<ref>{{cite web|url= http://www.museum-morsbroich.de/index.php?id=vorschau&no_cache=1&tx_mbausstellungen_pi1%5Bexhibition%5D=40&ftu=17c0865f7589ebcedf2cba1501860715|title= Vorschau – Museum Morsbroich|author= ChewingTheSun}}</ref>
* 1961: [[Piero Manzoni]] exhibited ''[[Artist's Shit]]'', tins purportedly containing his own [[feces]] (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) as [[Corpo d'aria|''Bodies of Air'']], and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). [[Marcel Broodthaers]] and [[Primo Levi]] are amongst the designated "artworks".
* 1962: Artist Barrie Bates rebrands himself as [[Billy Apple]], erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by third parties.<ref name="Byrt">{{cite web|last= Byrt|first= Anthony|title= Brand, new|url= http://www.frieze.com/issue/article/brand-new/|work= Frieze Magazine|access-date= 28 November 2012|archive-date= 2 November 2012|archive-url= https://web.archive.org/web/20121102012024/http://www.frieze.com/issue/article/brand-new/|url-status= dead}}</ref>
* 1962: [[Yves Klein]] presents [[Zone de Sensibilité Picturale Immatérielle|''Immaterial Pictorial Sensitivity'']] in various ceremonies on the banks of the Seine. He offers to sell his own "pictorial sensitivity" (whatever that was – he did not define it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.)
* 1962: FLUXUS Internationale Festspiele Neuester Musik in [[Wiesbaden]] with [[George Maciunas]], [[Wolf Vostell]], [[Nam June Paik]] and others.<ref>''Fluxus at 50''. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, {{ISBN|978-3-86678-700-1}}.</ref>
* 1963: [[George Brecht]]'s collection of Event-Scores, ''[[Water Yam (artist's multiple)|Water Yam]]'', is published as the first ''Fluxkit'' by [[George Maciunas]].
* 1964: [[Yoko Ono]] publishes ''[[Grapefruit (book)|Grapefruit: A Book of Instructions and Drawings]]'', an example of heuristic art, or a series of instructions for how to obtain an aesthetic experience.
* 1965: [[Art & Language]] founder Michael Baldwin's ''[[Mirror Piece]]''. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and [[Clement Greenberg]]'s theory.<ref>{{Citation|last=Tate|title=Art & Language – Conceptual Art, Mirrors and Selfies {{!}} TateShots|date=2016-04-22|url=https://www.youtube.com/watch?v=-klDfurJM5Y|access-date=2017-07-29}}</ref>
* [[Joseph Kosuth]] dates the concept of ''[[One and Three Chairs]]'' to the year 1965. The presentation of the work consists of a chair, its photo, and an enlargement of a definition of the word "chair". Kosuth chose the definition from a dictionary. Four versions with different definitions are known.
* 1966: Conceived in 1966 ''The Air Conditioning Show'' of [[Art & Language]] is published as an article in 1967 in the November issue of ''Arts Magazine''.<ref>{{Cite web|url=http://www.macba.cat/en/air-conditioning-show-air-show-frameworks-1966-67-al0481|title=Air-Conditioning Show / Air Show / Frameworks 1966–67|website=www.macba.cat|language=en|access-date=2017-07-29|archive-url=https://web.archive.org/web/20170729181530/http://www.macba.cat/en/air-conditioning-show-air-show-frameworks-1966-67-al0481|archive-date=2017-07-29|url-status=dead}}</ref>
* 1967: [[Mel Ramsden]]'s first ''100% Abstract Paintings''. The painting shows a list of chemical components that constitutes the substance of the painting.<ref>{{Cite web|url=http://www.macba.cat/en/exhibition-art-language-uncompleted/1/exhibitions/expo|title=ART & LANGUAGE UNCOMPLETED|website=www.macba.cat|language=en|access-date=2017-07-29|archive-date=2017-07-29|archive-url=https://web.archive.org/web/20170729212835/http://www.macba.cat/en/exhibition-art-language-uncompleted/1/exhibitions/expo|url-status=dead}}</ref>
* 1968: Michael Baldwin, [[Terry Atkinson]], [[David Bainbridge (artist)|David Bainbridge]] and [[Harold Hurrell]] found [[Art & Language]].<ref name="bbc.co.uk">{{Cite web|url=https://www.bbc.co.uk/coventry/culture/stories/2003/04/art-and-language.shtml|title=BBC – Coventry and Warwickshire Culture – Art and Language|website=www.bbc.co.uk|access-date=2017-07-29}}</ref>
* 1968: [[Lawrence Weiner]] relinquishes the physical making of his work and formulates his "Declaration of Intent", one of the most important conceptual art statements{{citation needed|date=March 2024}} following LeWitt's "Paragraphs on Conceptual Art". The declaration, which underscores his subsequent practice, reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership."
* 1969: The first generation of New York [[alternative exhibition space]]s are established, including [[Billy Apple]]'s APPLE, Robert Newman's Gain Ground, where [[Vito Acconci]] produced many important early works, and 112 Greene Street.<ref name="Byrt"/><ref>{{cite journal|last=Terroni|first=Christelle|title=The Rise and Fall of Alternative Spaces|url=http://www.booksandideas.net/The-Rise-and-Fall-of-Alternative.html|journal=Books&ideas.net|date=7 October 2011|access-date=28 November 2012}}</ref>
* 1973: [[Jacek Tylicki]] begins to lay out blank canvases or paper sheets in the natural environment for nature to create art.<ref>{{cite magazine |last1=Szita |first1=Jane |date=21 September 2019 |title= LEAVING PAPER AND CANVAS OUTDOORS, THIS CREATOR LETS NATURE TAKE ITS ARTISTIC TOLL |url= https://frameweb.com/article/book/leaving-paper-and-canvas-outdoors-this-creator-lets-nature-take-its-artistic-toll |magazine=Frame |location=Amsterdam, Netherlands |publisher=Frame Publishers |isbn= 978-9492311276 |access-date=25 February 2025}} </ref>
* 1973–1979: [[Mary Kelly (artist)|Mary Kelly]] makes her ''Post-Partum Document'', composed of six separate parts charting the first six years of caring for her son. Through a psychoanalytical and feminist lens, the work explores the mother-child relationship and examines her son's evolving sense of self as well as her own.<ref>{{cite web |last1=Ventura |first1=Anya |title=Motherhood Is Hard Work |url=https://www.getty.edu/news/motherhood-is-hard-work-mary-kelly-postpartum-document/ |website=Getty |publisher=Getty Museum |access-date=7 April 2024}}</ref>
* 1981: [[Joey Skaggs]] in his hoax ''Metamorphosis: Cockroach Miracle Cure''',''''' posed as Dr. Josef Gregor and claimed to have developed a universal cure derived from [[cockroach]] hormones. Blending absurdist science with social critique, the performance exposed media gullibility and exemplified Skaggs’ use of conceptual art to challenge public trust in authority and expertise.<ref>{{Cite book |last=Schwarcz |first=Dr Joe |url=https://books.google.com/books?id=iyulDwAAQBAJ |title=A Grain of Salt: The Science and Pseudoscience of What We Eat |date=2019-10-08 |publisher=ECW Press |isbn=978-1-77305-385-1 |language=en}}</ref>
* 1982: The opera ''[[Victorine (opera)|Victorine]]'' by Art & Language was to be performed in the city of [[Kassel]] for documenta 7 and shown alongside Art & Language ''Studio at 3 Wesley Place Painted by Actors'', but the performance was cancelled.<ref>{{Cite book|title=Conceptual art and painting Further essays on Art & Language|first=Charles|last=Harrison|publisher=The MIT Press|year=2001|isbn=0-262-58240-6|location=Cambridge|page=58}}</ref>
* 1990: [[Ashley Bickerton]] and [[Ronald Jones (Interdisciplinarian)|Ronald Jones]] included in "Mind Over Matter: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Art.<ref>{{cite news| url=https://query.nytimes.com/gst/fullpage.html?res=9C0CEFDA113CF93AA25753C1A966958260&sec=&spon=&pagewanted=all | work=The New York Times | first=Michael | last=Brenson | title=Review/Art; In the Arena of the Mind, at the Whitney | date=19 October 1990}}</ref>
* 1991: [[Ronald Jones (Interdisciplinarian)|Ronald Jones]] exhibits objects and text, art, history and science rooted in grim political reality at [[Metro Pictures Gallery]].<ref>Smith, Roberta. [https://query.nytimes.com/gst/fullpage.html?res=9D0CE2DB1539F934A15751C1A967958260 "Art in review: Ronald Jones Metro Pictures"], ''[[The New York Times]]'', 27 December 1991. Retrieved 8 July 2008.</ref>
* 1991: [[Charles Saatchi]] funds Damien Hirst and the next year in the [[Saatchi Gallery]] exhibits his ''[[The Physical Impossibility of Death in the Mind of Someone Living]]'', a shark in formaldehyde in a vitrine.
* 1992: [[Maurizio Bolognini]] starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would see.<ref>{{Cite book
|title=Maurizio Bolognini. Programmed Machines 1990–2005
|year=2005
|editor=Sandra Solimano 
|publisher=Villa Croce Museum of Contemporary Art, Neos
|location=Genoa
|isbn=88-87262-47-0
}}</ref>
* 1999: [[Tracey Emin]] is nominated for the [[Turner Prize]]. Part of her exhibit is ''[[My Bed]]'', her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
* 2001: [[Martin Creed]] wins the Turner Prize for ''[[Work No. 227: The lights going on and off]]'', an empty room in which the lights go on and off.<ref>{{cite news|url=https://news.bbc.co.uk/2/hi/entertainment/1698032.stm|title=BBC News – ARTS – Creed lights up Turner prize|date=10 December 2001}}</ref>
* 2003: [[damali ayo]] exhibits at the Center of Contemporary Art, Seattle, WA ''Flesh Tone #1: Skinned'', a collaborative self-portrait where she asked paint mixers from local hardware stores to create house paint to match various parts of her body, while recording the interactions.<ref>{{cite web|url=https://thirdcoastfestival.org/article/damali-ayo-bts/|title=Third Coast Audio Festival Behind the Scenes with damali ayo}}</ref>
* 2005: [[Simon Starling]] wins the Turner Prize for ''Shedboatshed'', a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.<ref>{{Cite web|url=https://www.thetimes.com/|title=The Times & The Sunday Times|website=The Times}}</ref>
[[File:David Lynch in the film David Lynch the virtual life.png|thumb|right|upright|David Lynch in his online ''Weather Report'' series, sometimes interpreted as a conceptual performance gesture.]]
* 2005: [[David Lynch]] (''Weather Report'', video series). Some critics have described Lynch’s ''Weather Report'' series as a form of conceptual or performance-based art, noting that its ritualized format—daily, repetitious, minimalist, and self‑published—echoes conceptualism’s emphasis on process and the elevation of mundane actions.<ref>\"David Lynch as Weatherman: On the Conceptual Qualities of His Daily Forecasts\", ''The Believer'', 24 August 2021.</ref><ref>Miley, Mike (29 January 2025). \"David Lynch’s Wonderful Weather\", ''Reactor''. Retrieved 6 August 2025.</ref> While not universally classified as such, the series has circulated widely online and is sometimes cited in discourse on [[post-minimal]] and process-oriented conceptual art.
* 2014: [[Olaf Nicolai]] creates the ''[[Memorial for the Victims of Nazi Military Justice]]'' on Vienna's [[Ballhausplatz]] after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet [[Ian Hamilton Finlay]] (1924–2006) with just two words: ''all alone''.
* 2019: [[Maurizio Cattelan]] sells two editions of [[Comedian (artwork)|''Comedian'']], which appears as a banana duct taped to a wall, for US$120,000 each, garnering significant media attention.<ref name="Pogrebin">{{cite news |last1=Pogrebin |first1=Robin |title=That Banana on the Wall? At Art Basel Miami It'll Cost You $120,000. |url=https://www.nytimes.com/2019/12/06/arts/design/banana-art-basel-miami.html |access-date=December 6, 2019 |work=The New York Times |date=December 6, 2019 |archive-date=December 6, 2019 |archive-url=https://web.archive.org/web/20191206210004/https://www.nytimes.com/2019/12/06/arts/design/banana-art-basel-miami.html |url-status=live }}</ref>

==Notable conceptual artists==
{{Cleanup list|section|date=July 2024}}
<!-- DO NOT ADD YOUR NAME TO THIS LIST -->
<!-- alphabetical by last name -->
{{div col|colwidth=22em}}
* [[Kevin Abosch]] (born 1969)
* [[Marina Abramović]] (born 1946)
* [[Vito Acconci]] (1940–2017)
* [[Bas Jan Ader]] (1942–1975)
* [[Vikky Alexander]] (born 1959)
* [[Francis Alÿs]] (born 1959)
* [[Billy Apple]] (1935–2021)
* [[Shusaku Arakawa]] (1936–2010)
* [[Keith Arnatt]] (1930–2008)
* [[Roy Ascott]] (born 1934)
* [[Michael Asher (artist)|Michael Asher]] (1943–2012)
* [[Mireille Astore]] (born 1961)
* [[damali ayo]] (born 1972)
* [[Abel Azcona]] (born 1988)
* [[John Baldessari]] (1931–2020)
* [[Adina Bar-On]] (born 1951)
* [[NatHalie Braun Barends]]
* [[Artur Barrio]] (born 1945)
* [[Robert Barry (artist)|Robert Barry]] (born 1936)
* [[Lothar Baumgarten]] (1944–2018)
* [[Joseph Beuys]] (1921–1986)
* [[Adolf Bierbrauer]] (1915–2012)
* [[Mark Bloch (artist)|Mark Bloch]] (born 1956)
* [[Mel Bochner]] (born 1940)
* [[Marinus Boezem]] (born 1934)
* [[Maurizio Bolognini]] (born 1952)
* [[Allan Bridge]] (1945–1995)
* [[Marcel Broodthaers]] (1924–1976)
* [[Stanley Brouwn]] (1935–2017)
* [[Chris Burden]] (1946–2015)
* [[Daniel Buren]] (born 1938)
* [[Teresa Burga|María Teresa Burga Ruiz]] (1935–2021)
* [[Victor Burgin]] (born 1941)
* [[Donald Burgy]] (born 1937)
* [[Maris Bustamante]] (born 1949)
* [[John Cage]] (1912–1992)
* [[Sophie Calle]] (born 1953)
* [[Graciela Carnevale]] (born 1942)
* [[Roberto Chabet]] (1937–2013)
* [[Greg Colson]] (born 1956)
* [[Martin Creed]] (born 1968)
* [[Cory Danziger]] (born 1977)
* [[Christopher D'Arcangelo]] (1955–1979)
* [[Jack Daws]] (born 1970)
* [[Jeremy Deller]] (born 1966)
* [[Agnes Denes]] (born 1938)
* [[Jan Dibbets]] (born 1941)
* [[Braco Dimitrijević]] (born 1948)
* [[Mark Divo]] (born 1966)
* [[Brad Downey]] (born 1980)
* [[Marcel Duchamp]] (1887–1968)
* [[Olafur Eliasson]] (born 1967)
* [[Noemí Escandell]] (1942–2019)
* [[Ken Feingold]] (born 1952)
* [[Teresita Fernández]] (born 1968)
* [[Fluxus]]
* [[Henry Flynt]] (born 1940)
* [[Andrea Fraser]] (born 1965)
* [[Jens Galschiøt]] (born 1954)
* [[Kendell Geers]] (born 1968)
* [[Thierry Geoffroy]] (born 1961)
* [[Jochen Gerz]] (born 1940)
* [[Gilbert and George]] Gilbert (born 1943) George (born 1942)
* [[Manav Gupta]] (born 1967)
* [[Felix Gonzalez-Torres]] (1957–1996)
* [[Allan Graham]] (born 1943)
* [[Dan Graham]] (1942–2022)
* [[Genco Gulan]] (born 1969)
* [[Cai Guo-Qiang]] (born 1957)
* [[Hans Haacke]] (born 1936)
* [[Iris Häussler]] (born 1962)
* [[Wally Hedrick]] (1928–2003)
* [[Oliver Herring]] (born 1964)
* [[Andreas Heusser]] (born 1976)
* [[Susan Hiller]] (1940–2019)
* [[Jenny Holzer]] (born 1950)
* [[Greer Honeywill]] (born 1945)
* [[Zhang Huan]] (born 1965)
* [[Douglas Huebler]] (1924–1997)
* [[Irma Hünerfauth]] (1907–1998)
* [[Peter Hutchinson (artist)|Peter Hutchinson]] (born 1930)
* [[Industry of the Ordinary]]
* [[David Ireland (artist)|David Ireland]] (1930–2009)
* [[Alfredo Jaar]] (born 1956)
* [[Ray Johnson]] (1927–1995)
* [[Ronald Jones (interdisciplinarian)|Ronald Jones]] (1952–2019)
* [[Ilya Kabakov]] (1933–2023)
* [[On Kawara]] (1932–2014)
* [[Jonathon Keats]] (born 1971)
* [[Mary Kelly (artist)|Mary Kelly]] (born 1941)
* [[Yves Klein]] (1928–1962)
* [[John Knight (artist)]] (born 1945)
* [[Igor Kopystiansky]] (born 1954)
* [[Svetlana Kopystiansky]] (born 1950)
* [[Joseph Kosuth]] (born 1945)
* [[Barbara Kruger]] (born 1945)
* [[Yayoi Kusama]] (born 1929)
* [[Magali Lara]] (born 1956)
* [[John Latham (artist)|John Latham]] (1921–2006)
* [[Matthieu Laurette]] (born 1970)
* [[Sol LeWitt]] (1928–2007)
* [[Annette Lemieux]] (born 1957)
* [[Elliott Linwood]] (born 1956)
* [[Noah Lyon]] (born 1979)
* [[Richard Long (artist)|Richard Long]] (born 1945)
* [[Mark Lombardi]] (1951–2000)
* [[George Maciunas]] (1931–1978)
* [[Teresa Margolles]] (born 1963)
* [[María Evelia Marmolejo]] (born 1958) 
* [[Piero Manzoni]] (1933–1963)
* [[Tom Marioni]] (born 1937)
* [[Phyllis Mark]] (1921–2004)
* [[Danny Matthys]] (born 1947)
* [[Allan McCollum]] (born 1944)
* [[Cildo Meireles]] (born 1948)
* [[Ana Mendieta]] (1948–1985)
* [[Marta Minujín]] (born 1943)
* [[Linda Montano]] (born 1942)
* [[Robert Morris (artist)]] (1931–2018)
* [[N.E. Thing Co.]] Ltd. (Iain & Ingrid Baxter) Iain (born 1936) Ingrid (born 1938)
* [[Maurizio Nannucci]] (born 1939)
* [[Bruce Nauman]] (born 1941)
* [[Olaf Nicolai]] (born 1962)
* [[Margaret Noble (artist)|Margaret Noble]] (born 1972)
* [[Yoko Ono]] (born 1933)
* [[Roman Opałka]] (1931–2011)
* [[Dennis Oppenheim]] (1938–2011)
* [[Adrian Piper]] (born 1948)
* [[Vanessa Place]] (born 1968)
* [[William Pope.L]] (1955–2023)
* [[Liliana Porter]] (born 1941)
* [[Michele Pred]] (born 1966)
* [[Dmitri Prigov]] (1940–2007)
* [[Arne Quinze]] (born 1971)
* [[Guillem Ramos-Poquí]] (born 1944)
* [[Charles Recher]] (1950–2017)
* [[Jim Ricks]] (born 1973)
* [[Lotty Rosenfeld]] (1943–2020)
* [[Martha Rosler]] (born 1943)
* [[Allen Ruppersberg]] (born 1944)
* [[Santiago Sierra]] (born 1966)
* [[Bodo Sperling]] (born 1952)
* [[Stelarc]] (born 1946)
* [[M. Vänçi Stirnemann]] (born 1951)
* [[Hiroshi Sugimoto]] (born 1948)
* [[Stephanie Syjuco]] (born 1974)
* [[Hakan Topal]] (born 1972)
* [[Endre Tot]] (born 1937)
* [[David Tremlett]] (born 1945)
* [[Tucumán arde]] (1968)
* [[Jacek Tylicki]] (born 1951)
* [[Mierle Laderman Ukeles]] (born 1939)
* [[Wolf Vostell]] (1932–1998)
* [[Mark Wallinger]] (born 1959)
* [[Theodore Wan]] (1953–1987)
* [[Gillian Wearing]] (born 1963)
* [[Peter Weibel]] (1945–2023)
* [[Lawrence Weiner]] (1942–2021)
* [[Roger Welch]] (born 1946)
* [[Christopher Williams (American artist)|Christopher Williams]] (born 1956)
* [[xurban collective]]
{{div col end}}

==See also==
{{div col}}
* [[Anti-art]]
* [[ART/MEDIA]]
* [[Body art]]
* [[Classificatory disputes about art]]
* [[Conceptual architecture]]
* [[Danger music]]
* [[Experiments in Art and Technology]]
* [[Found object]]
* [[Generative art]]
* [[Gutai group]]
* [[Information art]]
* [[Intermedia]]
* [[List of invisible artworks]]
* [[Land art]]
* [[Olfactory art]]
* [[Post-conceptual art]]
* [[Postmodern art]]
* [[Relational art]]
* ''[[Something Else Press]]''
* [[Systems art]]
{{div col end}}

==References==
{{Reflist}}

==Further reading==
;Books
* Charles Harrison, ''Essays on Art & Language'', MIT Press, 1991
* Charles Harrison, ''Conceptual Art and Painting: Further essays on Art & Language'', MIT press, 2001
* Ermanno Migliorini, ''Conceptual Art'', Florence: 1971
* Klaus Honnef, ''Concept Art'', Cologne: Phaidon, 1972
* Ursula Meyer, ed., ''Conceptual Art'', New York: Dutton, 1972
* [[Lucy R. Lippard]], ''Six Years: the Dematerialization of the Art Object From 1966 to 1972''. 1973. Berkeley: University of California Press, 1997.
* Gregory Battcock, ed., ''Idea Art: A Critical Anthology'', New York: E. P. Dutton, 1973
* Jürgen Schilling, ''Aktionskunst. Identität von Kunst und Leben?'' Verlag C.J. Bucher, 1978, {{ISBN|3-7658-0266-2}}.
* [[Juan Vicente Aliaga]] & José Miguel G. Cortés, ed., ''Arte Conceptual Revisado/Conceptual Art Revisited'', Valencia: Universidad Politécnica de Valencia, 1990
* Thomas Dreher, [http://dreher.netzliteratur.net/3_Konzeptkunst_Diss.pdf Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976] (Thesis Ludwig-Maximilians-Universität, München), Frankfurt am Main: Peter Lang, 1992
* [[Robert C. Morgan]], ''Conceptual Art: An American Perspective'', Jefferson, NC/London: McFarland, 1994
* Robert C. Morgan, ''Art into Ideas: Essays on Conceptual Art'', Cambridge ''et al.'': [[Cambridge University Press]], 1996
* Charles Harrison and Paul Wood, ''Art in Theory: 1900–1990'', Blackwell Publishing, 1993
* Tony Godfrey, ''Conceptual Art'', London: 1998
* Alexander Alberro & Blake Stimson, ed., ''Conceptual Art: A Critical Anthology'', Cambridge, Massachusetts, London: [[MIT Press]], 1999
* Michael Newman & Jon Bird, ed., ''Rewriting Conceptual Art'', London: Reaktion, 1999
* Anne Rorimer, ''New Art in the 60s and 70s: Redefining Reality'', London: Thames & Hudson, 2001
* [[Peter Osborne (writer and academic)|Peter Osborne]], ''Conceptual Art (Themes and Movements)'', Phaidon, 2002  (See also the external links for [[Robert Smithson]])
* Alexander Alberro. ''Conceptual art and the politics of publicity''. MIT Press, 2003.
* Michael Corris, ed., ''Conceptual Art: Theory, Practice, Myth'', Cambridge, England: Cambridge University Press, 2004
* Daniel Marzona, ''Conceptual Art'', Cologne: Taschen, 2005
* John Roberts, ''The Intangibilities of Form: Skill and Deskilling in Art After the Readymade'', London and New York: [[Verso Books]], 2007
* Peter Goldie and Elisabeth Schellekens, ''Who's afraid of conceptual art?'', Abingdon [etc.] : Routledge, 2010. – VIII, 152 p. : ill.; 20&nbsp;cm {{ISBN|0-415-42281-7}} hbk :  {{ISBN|978-0-415-42281-9}} hbk : {{ISBN|0-415-42282-5}} pbk :  {{ISBN|978-0-415-42282-6}} pbk

;Essays
* {{cite book |author1=Mikhail Epstein |authorlink1=Mikhail Epstein |author2=Alexander Genis |author3=Slobodanka Vladiv-Glover |chapter=Theses on Metarealism and Conceptualism (1983) |pages=169–176 |translator=Slobodanka Vladiv-Glover |title=Russian Postmodernism: New Perspectives on Post-Soviet Culture |edition=Rev. |place=New York; Oxford |publisher=Berghahn Books |year=2016 |orig-year=1999 |chapter-url=http://www.emory.edu/INTELNET/e.pm.concept.metareal.html |url={{Google books|id=vc8tDwAAQBAJ|plainurl=y|page=|keywords=|text=}} |isbn=978-1-78238-864-7}}
* [http://andreasauchelli.weebly.com/uploads/4/2/0/0/42005065/447._sauchelli_jae_the_acquaintance_principle_aesthetic_judgments_and_conceptual_art.pdf Andrea Sauchelli, 'The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art, ''Journal of Aesthetic Education'' (forthcoming, 2016)].

;Exhibition catalogues
* ''Diagram-boxes and Analogue Structures'', exh.cat. London: Molton Gallery, 1963.
* ''January 5–31, 1969'', exh.cat., New York: Seth Siegelaub, 1969
* ''When Attitudes Become Form'', exh.cat., Bern: Kunsthalle Bern, 1969
* ''557,087'', exh.cat., Seattle: Seattle Art Museum, 1969
* ''Konzeption/Conception'', exh.cat., Leverkusen: Städt. Museum Leverkusen ''et al.'', 1969
* ''Conceptual Art and Conceptual Aspects'', exh.cat., New York: New York Cultural Center, 1970
* ''Art in the Mind'', exh.cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970
* ''Information'', exh.cat., New York: Museum of Modern Art, 1970
* ''Software'', exh.cat., New York: Jewish Museum, 1970
* ''Situation Concepts'', exh.cat., Innsbruck: Forum für aktuelle Kunst, 1971
* ''Art conceptuel I'', exh.cat., Bordeaux: [[capcMusée d’art contemporain de Bordeaux]], 1988
* ''L'art conceptuel'', exh.cat., Paris: ARC–Musée d’Art Moderne de la Ville de Paris, 1989
* Christian Schlatter, ed., ''Art Conceptuel Formes Conceptuelles/Conceptual Art Conceptual Forms'', exh.cat., Paris: Galerie 1900–2000 and Galerie de Poche, 1990
* ''Reconsidering the Object of Art: 1965–1975'', exh.cat., Los Angeles: Museum of Contemporary Art, 1995
* ''Global Conceptualism: Points of Origin, 1950s–1980s'', exh.cat., New York: Queens Museum of Art, 1999
* ''Open Systems: Rethinking Art c. 1970'', exh.cat., London: Tate Modern, 2005
* Art & Language Uncompleted: The Philippe Méaille Collection, MACBA Press, 2014
* ''Light Years: Conceptual Art and the Photograph 1964–1977'', exh.cat., Chicago: Art Institute of Chicago, 2011

==External links==
* {{Commons category-inline}}
* {{wikiquote-inline}}
* [http://www.macba.cat/en/exhibition-art-language-uncompleted/1/exhibitions/expo Art & Language Uncompleted: The Philippe Méaille Collection, MACBA] {{Webarchive|url=https://web.archive.org/web/20170729212835/http://www.macba.cat/en/exhibition-art-language-uncompleted/1/exhibitions/expo |date=2017-07-29 }}
* [https://www.chateau-montsoreau.com/wordpress/fr/accueil/ Official site of the Château de Montsoreau-Museum of Contemporary Art]
* [http://www.artic.edu/aic/collections/exhibitions/LightYears/index Light Years: Conceptual Art and the Photograph, 1964–1977] at the [https://web.archive.org/web/20120427145431/http://www.artic.edu/aic/ Art Institute of Chicago]
* {{Cite SEP|url-id=conceptual-art|title=Conceptual Art|first=Elisabet |last=Shellekens}}
* [https://web.archive.org/web/20081013224459/http://www.ddooss.org/articulos/idiomas/Sol_Lewitt.htm Sol LeWitt, "Paragraphs on Conceptual Art"]
* [https://web.archive.org/web/20080828033206/http://www.art.dostweb.com/ Conceptualism]
* [http://ubu.com/historical/young/index.html pdf file of An Anthology of Chance Operations (1963)] containing [[Henry Flynt]]'s "Concept Art" essay at [[UbuWeb]]
* [http://the-artists.org/artistsbymovement/Conceptual-Art/ conceptual artists, books on conceptual art and links to further reading]
* [https://web.archive.org/web/20130922034911/http://pendientedemigracion.ucm.es/info/nomadas/37/adolfovrocca.pdf Arte Conceptual y Posconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus – PDF ] UCM

{{Westernart}}
{{Avant-garde}}
{{Art & Language}}
{{Fluxus}}
{{Art world}}
{{Authority control}}

{{DEFAULTSORT:Conceptual Art}}
[[Category:Conceptual art| ]]
[[Category:Postmodern art|*Art]]
[[Category:Contemporary art movements]]
[[Category:Visual arts media]]
[[Category:Concepts in aesthetics]]
[[Category:20th-century art movements]]
[[Category:21st-century art movements]]