Conceptual art

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Also concept art, idea art, conceptualism.

Artists, collectives[edit]

Only artists and collectives with pages on the Monoskop wiki are listed.

On New York conceptualism[edit]

Foster et al. (2004: 527-8) on the emergence of conceptual art:

Conceptual art emerged from the confluence of two major legacies of modernism, one embodied in the readymade, the other in geometric abstraction. Through the practices of Fluxus and the Pop artists, the first legacy was transmitted to younger postwar artists; through the works of Frank Stella and the Minimalists, a similar bridge was between prewar abstraction and conceptual approaches at the end of the sixties.

At the beginning of the decade, prior to the organized onset of Conceptual art in 1968, the fusion of Fluxus and Pop had led to works such as Robert Morris's Card File (1962) and Ed Ruscha's Twenty-Six Gasoline Stations (1963), in which certain positions that would subsequently determine Conceptual art were firmly established: in Ruscha's work this meant an emphasis on photography and the form of distribution of the printed book; in Morris's, it entailed a focus on a revised, linguistic definition of modernist self-reflexiveness—or art asserting its own autonomy through strategies of self-reference—which Morris pushed to the point of undermining the very possibility of aesthetic autonomy.

Both Morris and Ruscha are, in turn, indebted to the way Duchamp's readymade had yielded a more complex model of practice in the hands of Jasper Johns and Andy Warhol. These two were also central to the subsequent unfolding of photographic and textual strategies as they were being put in place in the mid-sixties by the first "official" generation of Conceptual artists, namely Lawrence Weiner (born 1940), Joseph Kosuth (1945), Robert Barry (1936), and Douglas Huebler (1924-77). These artists formed the group that was shown in January 1969 in New York by the art dealer Seth Siegelaub (1941-2013).

The second element that contributed significantly to the formation of a Conceptual aesthetic was Minimalist abstraction as embodied in the work of Frank Stella, Ad Reinhardt, and Donald Judd. In his manifesto-like essay "Art After Philosophy" (1969), Joseph Kosuth acknowledged all of these as predecessors in the development of the Conceptual aesthetic. What is at stake in this aesthetic is a critique of the modernist notion of visuality (or "opticality"), here defined as a separate, autonomous sphere of aesthetic experience. What is further at issue is the question of the problematic uniqueness of the art object as well as the new mode of distribution (the book, the poster, the journal) and the "spatiality" of that object—namely, the pictorial rectangle or the sculptural solid (despite Minimalism's embrace of industrial production and technological reproduction, Minimalist work had ultimately remained wedded to the singular object).

Alberro (1999: xx-xxi) on the aesthetic theory of LeWitt and Kosuth:

I interpret LeWitt’s aesthetic theory as opposed to Kosuth's. Whereas the latter's is characterized by a rational mode of artistic production that affirms the centered and authorial artist—the decisionmaker from beginning to end—LeWitt’s theory proposes a mode of production that is opposed to rationalism; the work is produced following a logical sequence that does not require intuition, creativity, or rational thought. Thus the work reads without the testimony of the privileged artist; this process of production is fundamentally, in a word, irrational. Furthermore, consistent with his rational standpoint, Kosuth’s aesthetic theory clearly restricts viewing experience to two possibilities: the viewer either comprehends the idea, or does not. As he states polemically in a 1969 interview, "The public’s not interested in art anyway. ... No more interested in art than they are with physics." In contrast, LeWitt's model of conceptualism posits an unlimited public. The content of artworks produced following this model is more than the private history of the artist and allows a multiplicity of readings. In this respect, whereas Kosuth formulates an aesthetic theory based upon the epitome of positivist thinking—the tautological model—LeWitt's aesthetic theory references positivism only to break out of it by introducing the subjective dimension of the beholder. "Once out of his hand,” LeWitt writes, “the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way."

In 1998, Silvia Kolbowski asked 22 artists to describe conceptual works from the period 1965-75, which they personally witnessed at the time, without mentioning author names or titles of works. The resulting video recordings were exhibited and text transcriptions were published in the journal October in 2000.

Artist's books, magazines, writings[edit]

Essays, statements[edit]

New York
  • Sol LeWitt, "Paragraphs on Conceptual Art", Artforum 5:10, Jun 1967, pp 79-84; repr. in Conceptual Art: A Critical Anthology, eds. Alberro and Stimson, 1999, pp 12-16. (English)
    • "Parágrafos sobre Arte Conceitual", in Escritos de artistas anos 60/70, eds. Gloria Ferreira and Cecília Cotrin, Rio de Janeiro: Jorge Zahar, 2006, pp 176-181. (Brazilian Portuguese)
  • Sol LeWitt, "Sentences on Conceptual Art", 0-9, no. 5, New York, Jan 1969, pp 3-5; repr. in Art-Language, UK, May 1969; repr. in Conceptual Art: A Critical Anthology, eds. Alberro and Stimson, 1999, pp 106-108. (English)
    • "Sentenças sobre Arte Conceitual", in Escritos de artistas anos 60/70, eds. Gloria Ferreira and Cecília Cotrin, Rio de Janeiro: Jorge Zahar, 2006, pp 205-207. (Brazilian Portuguese)
  • Joseph Kosuth, "Art After Philosophy", Studio International 178, no. 915 (Oct 1969), pp 134-137, no. 916 (Nov 1969), pp 160-161, no. 917 (Dec 1969), pp 212-213; Part I repr. in Art and Language, eds. Paul Maenz and Gerd de Vries, Cologne, 1972, pp 74-98; repr. in Kosuth, Art After Philosophy and After, MIT Press, 1991, pp 13-32. (English)
    • "Kunst nach der Philosophie", in Art and Language, eds. Paul Maenz and Gerd de Vries, Cologne, 1972, pp 75-99. Trans. of Part I. (German)
    • "L'art après la philosophie", artpress 1 (Dec 1972-Jan 1973). (French)
    • "A arte depois da filosofia", Malasartes, Rio de Janeiro, Sep-Nov 1975; repr. in Escritos de artistas anos 60/70, eds. Gloria Ferreira and Cecília Cotrin, Rio de Janeiro: Jorge Zahar, 2006, pp 210-234. (Brazilian Portuguese)
    • "Umění následuje filosofii I.–III.", in Minimal & Earth & Concept Art, I, ed. Karel Srp, Prague: Jazzpetit, 1982. (Czech)
    • "Sztuka po filozofii", trans. Urszula Niklas, in Zmierzch estetyki: rzekomy czy autentyczny?, 2, ed. Stefan Morawski, Warsaw: Czytelnik, 1987, pp 239-258. (Polish)
    • "L'arte dopo la filosofia", trans. Gabriele Guercio, in Kosuth, L'arte dopo la filosofia. Il significato dell'arte concettuale, Genova: Costa & Nolan, 1987. (Italian)
    • "Filozófia utáni művészet", trans. Dezső Bánki, in Kosuth, Texte über Kunst / Művészeti tanulmányok, Vienna and Budapest: Knoll Galerie, 1992, pp 107-130. (Hungarian)
    • Джозеф Кошут, "Iskusstvo posle filosofii" [Искусство после философии], trans. A.A. Kurbanovsky, Voprosy iskusstvoznaniya [Вопросы искусствознания] 1 (2001), HTML. (Russian)
Latin America
  • Eduardo Costa, Raúl Escari, Roberto Jacoby, Un arte de los medios de comunicación (manifiesto), Buenos Aires, Jul 1966; repr. in Happenings, ed. Oscar Masotta, Buenos Aires: Jorge Alvarez, 1967, pp 119-122. Commentary. (Spanish)
    • "A Media Art (Manifesto)", trans. Trilce Navarrete, in Conceptual Art: A Critical Anthology, eds. Alberro and Stimson, 1999, pp 2-4. Its first publication in English. (English)
    • "An Art of Communications Media (manifesto)", trans. Eileen Brockbank, in Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-garde, ed. Inés Katzenstein, New York: Museum of Modern Art, 2004, pp 223-225, HTML. (English)
  • Hélio Oiticica, "Esquema geral da Nova Objetividade", in Nova Objetividade Brasileira, Rio de Janeiro: Museu de Arte Moderna, Apr 1967; repr. in Escritos de artistas anos 60/70, eds. Gloria Ferreira and Cecília Cotrin, Rio de Janeiro: Jorge Zahar, 2006, pp 154-168; repr. in Tropicália: uma revolução na cultura brasileira, 1967-1972, ed. Carlos Basualdo, São Paulo: Cosac Naify, 2007, pp 221-231. (Brazilian Portuguese)
    • "General Scheme of the New Objectivity", in Guy Brett et al., Helio Oiticica, Rotterdam: Witte de With, and Minneapolis: Walker Art Center, 1992, pp 110-120; repr. (extracts) in Conceptual Art: A Critical Anthology, eds. Alberro and Stimson, 1999, pp 40-42. (English)
  • María Teresa Gramuglio, Nicolas Rosa, Tucumán Arde, Rosario, Nov 1968. Published as a mimeo. Commentary. (Spanish)
    • "Tucuman Burns", trans. Trilce Navarrete, in Conceptual Art: A Critical Anthology, eds. Alberro and Stimson, 1999, pp 76-79. Its first publication in English. (English)
    • "Tucumán is Burning: Statement of the Exhibition in Rosario", trans. Eileen Brockbank, in Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-garde, ed. Inés Katzenstein, New York: Museum of Modern Art, 2004, pp 319-323. (English)

Magazines, periodicals[edit]

  • 0-9, 6 numbers, eds. Bernadette Meyer and Vito Acconci, New York, 1967-1969. Reprint. [3], [4]. FSL. [5], [6], ccindex.
  • Art-Language, 19 numbers, eds. Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, et al., Coventry, UK: Art & Language Press, 1969-1978. First issue carried the subtitle The Journal of Conceptual Art. Covers, [7], [8].
  • Új Symposion, 77+ numbers, eds. Bálint Szombathy (1971-72, 1986-89), László Kerekes (1984-85), et al., Novi Sad: Tribina mladih, [1971]-[1989]. [9], [10], [11], [12], [13]. (Hungarian)
  • Index, eds. Slobodan Tišma, Janez Kocijanić, and Mirko Radojičić, Novi Sad, [1969]-[1972]. Student magazine. [14]. (Serbo-Croatian)
  • Data, 32 numbers, eds. Tommaso Trini (Castelli) and Ciacia Nicastro, Milan: Prearo, 1971-1978. [15]. [16] (Italian),(English)
  • Polja 156: "Konceptualna umetnost", ed. Mirko Radojičić, Novi Sad, Feb 1972. (Serbo-Croatian)
  • The Fox, 3 numbers, eds. Sarah Charlesworth, Michael Corns, Preston Heller, Joseph Kosuth, Andrew Menard, Mel Ramsden, and Ian Burn, New York, 1975-1976. ccindex, [17].
  • Vision, 5 numbers, ed. Tom Marioni, Oakland, CA: Crown Point Press, 1975-1981. Issue 1. [18], [19], [20].
  • Red-herring, 2 numbers, eds. Karl Beveridge, Jill Breakstone, Ian Burn, Carole Conde, Michael Corns, Preston Heller, and Andrew Menard, New York: C.I.F., 1977-1978. ccindex, Allen.

Artist's books[edit]

  • Lawrence Weiner, Statements, New York, Louis Kellner Foundation & Seth Siegelaub, 1968, [29] leaves. (English)
  • Sol LeWitt, Four Basic Kinds of Straight Lines, London: Studio International, 1969, 36 pp. Artist's book.
  • Sol LeWitt, Four Basic Colours: Yellow, Black, Red, Blue, and Their Combinations, 1971.
  • Avalanche 4: "Conceptual Art", Spring 1972, 100 pp. TOC. (English)
  • Joseph Kosuth, Art as Idea as Idea, 1967-1968, Brussels: Paul Maenz, Mar 1973, [12] pp. Catalogue.
  • Blurting in A & L [Art & Language], New York: Art & Language Press, and Halifax: The Mezzanine, Nova Scotia College of Art, 1973, 92 pp; 2002. (English)/(German)
  • Sol LeWitt, Photo Grids, Paul David Press, 1977, 50 pp. Artist's book. (English)
  • Art Journal 42(2): "Words and Wordworks", ed. Clive Phillpot, 1982.


  • Prospect 68, Dusseldorf: Städtische Kunsthalle Düsseldorf, 1968, 39 pp. Newspaper-catalogue. Exh. held 20-29 Sep 1968. [21] (German)
  • Xerox Book, eds. Seth Siegelaub and John W. Wendler, New York, Dec 1968, 190 pp. (English)
  • Op losse schroeven: situaties en cryptostructuren, intro. Wim A.L. Beeren, ed. Ank Marcar, Amsterdam: Stedelijk Museum, 1969, 64+[39] pp. Exh. curated by Wim Beeren, 15 Mar-27 Apr 1969. Excerpt. [24] (Dutch),(English),(German)
  • 557,087, Seattle: Contemporary Art Council of the Seattle Art Museum, 1969, [95] cards. Consists of 95 10cm x 15cm index cards. Exh. curated by Lucy R. Lippard at the Seattle Art Museum Pavilion, 5 Sep-5 Oct 1969. [28] [29]
  • Prospect 69, Dusseldorf: Kunsthalle Düsseldorf, 1969. Exh. held 30 Sep-12 Oct 1969. (German)
  • Konzeption / Conception, Leverkusen: Städt. Museum Leverkusen, et al., 1969. Exh. with works by 44 artists, curated by Konrad Fischer and Rolf Wedewer, 24 Oct-23 Nov 1969. [30], 2015 reassessment. (German)/(English)
  • Art by Telephone, Chicago: Museum of Contemporary Art, 1969, 44 min. Vinyl LP record serving as the catalogue. Exh. held at MCA Chicago, 1 Nov-14 Dec 1969. [31] [32] (English)
  • 955,000, Vancouver: Vancouver Art Gallery, 1970, [137] cards. Consists of 95 10cm x 15cm index cards from the previous show in Seattle with 42 new index cards added; in total 71 artists from North America and Europe participated. Exh. curated by Lucy R. Lippard and held at the Vancouver Art Gallery, 13 Jan-8 Feb 1970. [33] [34] [35]
  • Conceptual Art and Conceptual Aspects, New York: New York Cultural Center, 1970. Exh. curated by Donald Karshan, 10 Apr-25 Aug 1970. [36] [37] (English)
  • Art in the Mind, intro. Athena T. Spear, Oberlin, OH: Allen Memorial Art Museum, 1970. Exh. held 17 Apr-12 May 1970. [38] [39] [40] (English)
  • Conceptual art, arte povera, land art, Torino: Galleria civica d'arte moderna, 1970, 189+[38] pp. Exh. curated by Germano Celant, Jun-Jul 1970. (Italian)
  • Information, New York: Museum of Modern Art, 1970, 207 pp. Exh. curated by Kynaston McShine, 2 Jul-20 Sep 1970. (English)
  • 2,972,453, Buenos Aires: Centro de Arte e Communicacion, 1970, [43] cards. Consists of 43 cards; included only artists that were not part of the first two exhibitions held in Seattle and Vancouver. Exh. curated by Lucy R. Lippard, opened 4 Dec 1970. [42] [43] [44] [45]
  • The Examples of Conceptual art in Yugoslavia, Belgrade: Museum of Contemporary Art, 1971. Exh. curated by Biljana Tomić and Ješa Denegri, 3-22 Mar 1971. [46]
  • In Another Moment, Belgrade: Studentski kulturni centar, 1971, [21] sheets. Exh. held at Student Cultural Center (SKC) gallery, Belgrade, 15 Sep-3 Oct 1971 (as a sequel to At the Moment, 23 Apr 1971 in Zagreb [47]); curated by Nena Dimitrijević and Braco Dimitrijević. (English)/(Serbian)
  • Konzept-Kunst, Basel, 1972, 68 pp. Exh. held at Kunstmuseum Basel, 18 Mar-23 Apr 1972. (German)
  • Documenta 5, eds. Harald Szeemann, et al., Kassel: documenta & Bertelsmann, 1972. Exh. held in Kassel, 30 Jun-8 Oct 1972. (German)
  • Tendencije 5, Zagreb: Galerija suvremene umjetnosti, 1973. Exh. held 1 Jun-1 Jul 1973.
  • c.7,500, Valencia, CA: California Institute of the Arts, 1973, [30] cards. Included only women artists. (incl. Wadsworth Atheneum, ICA Boston, Smith College, and Walker Art Center). Exh. curated by Lucy R. Lippard and held May 1973-Feb 1974 at the California Institute of the Arts, Valencia, CA. Afterwards traveled to six other venues: ICA Boston; Moore College of Art, Philadelphia; Wadsworth Atheneum, Hartford, CT; Walker Art Center, Minneapolis; Royal College of Art, London; Smith College Museum of Art, Northampton, MA. [48] [49]

See also catalogues of retrospective exhibitions.


  • Conceptual Art, ed. Ursula Meyer, New York: E.P. Dutton, 1972, xx+227 pp. (English)
  • Minimal & Earth & Concept Art, 2 vols., ed. Karel Srp, Prague: Jazzpetit, 1982. [50] (Czech)
  • "Language and Concepts", ch 9 in Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996; 2nd ed., 2012, pp 955-1070. (English)
  • Kairos 11: "Konceptkonst", ed. Sven-Olov Wallenstein, Stockholm: Raster, 2006, 300 pp. Texts by v Sol LeWitt, Lucy Lippard and John Chandler, Joseph Kosuth, Art & Language, Adrian Piper, Daniel Buren and Sarah Charlesworth in Swedish translation. (Swedish)

Reception, art historical studies[edit]

For publications on individual artists and collectives see their respective pages.

the West[edit]

Lucy Lippard, Six Years, 1973, JPG, PDF (129 mb), Log.
  • Klaus Groh, If I Had a Mind... (Ich stelle mir vor ...): Concept-Art, Project-Art, Cologne: DuMont Schauberg, 1971. [51]
  • Klaus Honnef, Concept Art. Versuch einer Concept Art Theorie, Cologne: Phaidon, 1971, 192 pp. (German)
  • Simón Marchán Fiz, Del arte objetual al arte de concepto, 1960-1974, Madrid: Alberto Corazón, 1974; 3rd ed., corr. & augm., Madrid: Akal, 1986, 483 pp. (Spanish)
  • Robert C. Morgan, Art Into Ideas: Essays on Conceptual Art, Cambridge University Press, 1996. (English)
  • Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001, 304 pp. Excerpt. (English)
  • Paul Wood, Conceptual Art, London: Tate Publications, 2002, 80 pp. (English)
    • Arte conceitual, trans. Betina Bischof, São Paulo: Cosac & Naify, 2002, 80 pp. (Brazilian Portuguese)
    • Konceptkunsten, trans. Torben Christensen, Copenhagen: Søren Fogtdal, 2002, 80 pp. (Danish)
  • Charles Harrison, Conceptual Art and Painting: Further Essays on Art & Language, MIT Press, 2003, 248 pp. Publisher. (English)
  • Mike Sperlinger (ed.), Afterthought: New Writing on Conceptual Art, London: Rachmaninoff's, 2005, 82 pp. Preview. [52] (English)
  • Daniel Marzona, Conceptual Art, Taschen, 2005, 95 pp. Excerpt. Of the 34 artists whose work forms the main body of his book, 17 are represented by pieces which reside in the Staatliche Museen zu Berlin, Marzona Collection; these featured projects are often not the most representative, most iconic, or most interesting of the artists' works. (English)
  • Pilar Parcerisas, Conceptualismo(s) poéticos, políticos y periféricos: en torno al arte conceptual en España, 1964-1980, Madrid: Akal, 2007, 544 pp. Publisher. (Spanish)
  • Maria Eichhorn, The Artist's Contract: Interviews with Carl Andre, Daniel Buren, Paula Cooper, Hans Haacke, Jenny Holzer, Adrian Piper, Robert Projansky, Robert Ryman, Seth Siegelaub, John Weber, Lawrence Weiner, Jackie Winsor, ed. Gerti Fietzek, Cologne: Walther König, 2009, 336 pp. (English)
  • Aimee Selby (ed.), Art and Text, London: Black Dog Publishing, 2009, 288 pp, IA. Contributions by Dave Beech, Charles Harrison, Will Hill. (English)
  • Sabine Folie, Georgia Holz, Ilse Lafer (eds.), Ein Buch über das Sammeln und Ausstellen konzeptueller Kunst nach der Konzeptkunst / A Book About Collecting and Exhibiting Conceptual Art After Conceptual Art, Vienna: Generali Foundation, and Cologne: Walther König, 2013, 542 pp. Skrebowski's essay. [56] (German)/(English)
  • Nathalie Zonnenberg, Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation, Amsterdam: Valiz, 2019, 240 pp. Publisher. (English)
  • Space, Time, Sound: Conceptual Art in the San Francisco Bay Area: The 1970s, ed. Suzanne Foley, San Francisco: San Francisco Museum of Modern Art, 1981. Exh. held 21 Dec-10 Feb 1980. [57] (English)
  • Art conceptuel I, Bordeaux: Musée d’art contemporain de Bordeaux, 1988. (French)
  • Modes of Address: Language in Art since 1960, New York: Whitney Museum of American Art, 1988. Texts by Tom Hardy, Amy Heard, Ingrid Periz, and Michael Waldron. (English)
  • L'art conceptuel, une perspective, Paris: Musée d’Art Moderne de la Ville de Paris, 1989, 248 pp. Exh. with works by 38 artists, ARC Musée d'Art Moderne de la Ville de Paris, 22 Nov 1989-18 Feb 1990; Caja de Pensiones, Madrid, Mar-Apr 1990; Deichtorhallen-Austellungs, Hamburg, May-Jul 1990; Musée d'art contemporain de Montréal, 5 Aug-21 Oct 1990. (French)
  • Art Conceptuel Formes Conceptuelles / Conceptual Art Conceptual Forms, ed. Christian Schlatter, Paris: Galerie 1900–2000 and Galerie de Poche, 1990. (French)/(English)
  • Reconsidering the Object of Art: 1965-1975, eds. Ann Goldstein and Anne Rorimer, MIT Press, 1995, 335 pp. Exh. held at Museum of Contemporary Art, Los Angeles, with works by 55 artists. [59] [60] (English)
  • Conceptual Art: The NSCAD Connection 1967-1973, ed. Bruce Barber, Halifax: Anna Leonowens Gallery/NSCAD, 1998, 51 pp. [61] (English)
  • Live in Your Head: Concept and Experiment in Britain, 1965-1975, London: Whitechapel, 2000, 176 pp. Excerpt. [62]
  • Conception: Conceptual Documents 1968 to 1972, Norwich: Norwich Gallery/Norwich School of Art and Design, 2001, 168 pp. Source book published in conjunction with traveling exhibition, 24 Jan-3 Mar 2001; City Museum and Art Gallery, Henry Moore Institute Library, Leeds, 10 Mar-22 Apr 2001; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, 12 Oct-2 Dec 2001. Curated by Catherine Moseley. Contains interviews with Keith Arnatt, Daniel Buren, Herman Daled, Anny de Decker, Jan Dibbets, Nigel Greenwood, David Lamelas, Seth Siegelaub, Adriaan van Ravesteijn. Essays by Moseley, and Lynda Morris, and text by Georg Jappe on Konrad Fischer. Book mimics contents of Lucy Lippard's Six Years, and expands on it. [63] [64] (English)
  • Conceptual Art in The Netherlands and Belgium, 1965-1975: Artists, Collectors, Galleries, Documents, Exhibitions, Events, eds. Suzanna Heman, Jurrie Poot and Hripsimé Visser, forew. Rudi Fuchs, Rotterdam: nai010, and Amsterdam: Stedelijk Museum, 2002. With essays by Carel Blotkamp and Camiel van Winkel. Exh. held at Stedelijk Museum, Amsterdam, 20 Apr-23 Jun 2002, 195 pp. [65] (English)
  • In & Out of Amsterdam: Travels in Conceptual Art 1960-1976, ed. Christophe Cherix, New York: MoMA, 2009, 170 pp. Cherix's essay. Exhibition. (English)
  • Svensk konceptkonst, Kalmar: Kalmar konstmuseum, 2010. exhibition curated by Martin Schibli and Bengt Olof Johansson. [66] (Swedish)
  • Light Years: Conceptual Art and the Photograph 1964-1977, ed. Matthew S. Witkovsky, Chicago: Art Institute of Chicago, 2011, 264 pp. Introduction, [67]. Reviews: Smith (Hist of Photography 2013), Tayler (CV 2013). (English)
  • Traffic: Conceptual Art in Canada 1965-1980, eds. Grant Arnold and Karen Henry, Vancouver: Vancouver Art Gallery, et al., 2012, 176 pp. [68] [69] (English)
  • Germano Celant, et al., When Attitudes Become Form: Bern 1969/Venice 2013, Milan: Progetto Prada Arte, 2013, 732 pp. Exhibition. Publisher. (English)
  • Jo Melvin, The Xerox Book, New York: Paula Cooper Gallery, 2015, [8] pp.
  • Conceptual Art in Britain 1964-1979, ed. Andrew Wilson, London: Tate Publishing, 2016. Exh. held at Tate Britain, 12 Apr–29 Aug 2016. Review: Terranova (Art J). (English)
  • Stille revolt: Norsk prosess- og konseptkunst på 70- og 80-tallet [Silent Revolt: Norwegian Process Art and Conceptual Art in the 1970s and 80s], ed. Ingvild Krogvig, Oslo: National Museum, 2016. [70] [71] (Norwegian)
Journal issues
  • OEI 52: "SV Konc Kons", ed. Frans Josef Petersson, Stockholm: OEI, 2011, 392 pp. On Swedish conceptual art. [72] (Swedish)
Selected essays
  • Jeff Wall, "Marks of Indifference: Aspects of Photography in, or as, Conceptual Art", in Reconsidering the Object of Art, eds. Ann Goldstein and Anne Rorimer, Los Angeles: Museum of Contemporary Art, 1995, pp 247-267; repr. in The Last Picture Show: Artists Using Photography, 1960-1982, Minneapolis: Walker Art Center, 2003, 32-44. (English)
  • Hal Foster, et al., "1968: Conceptual Art", in Art Since 1900, London: Thames & Hudson, 2004, pp 527-533. (English)
  • Hal Foster, et al., "1972: Documenta 5", in Art Since 1900, London: Thames & Hudson, 2004, pp 554-559. (English)
Encyclopedic entries
  • R. Smith, "Conceptual Art", in Concepts of Modern Art, ed. N. Stangos, London, 1981, pp 256-272. (English)
  • Sabeth Buchmann, "Conceptual Art", in DuMonts Begriffslexikon zur zeitgössischen Kunst, ed. Hubertus Butin, Cologne: DuMont, 2002. (German)
  • Miško Šuvaković, "Konceptualna umjetnost", in Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005. (Croatian)
  • Elisabeth Schellekens, "Conceptual Art", Stanford Encyclopedia of Philosophy, 2007; rev. 2014. (English)
  • "Conceptual art", in Ian Chilvers, The Oxford Dictionary of Art and Artists, 4th ed., Oxford University Press, 2009. (English)
  • "Conceptual Art", in Ian Chilvers, John Glaves-Smith, Oxford Dictionary of Modern and Contemporary Art, 2nd ed., Oxford University Press, 2009, pp 147-149. (English)
  • Sabeth Buchmann, "Conceptual Art", in Diccionario de conceptos de arte contemporáneo, ed. Hubertus Butin, trans. Joaquín Chamorro Mielke, Madrid: Abada, 2009, pp 70-73. (Spanish)
  • David Craven, "Conceptual Art", in The Grove Encyclopedia of American Art, 1, Oxford University Press, 2010, 527-531. (English)
  • Alexander Alberro, Deprivileging Art: Seth Siegelaub and the Politics of Conceptual Art, Evanston, IL: Northwestern University, 1996, x+554 pp. PhD thesis. (English)
  • Ingvild Krogvig, Konseptkunst på norsk: en undersøkelse av Bård Breivik, Gerhard Stoltz, Viggo Andersen og Marianne Heskes konseptuelle strategier i perioden 1970-1982, Oslo: University of Oslo, 2009. Dissertation. [75] (Norwegian)

Soviet Union, Russia[edit]

Andrei Monastyrsky, Dictionary of Moscow Conceptualism, 1999/2010, PDF, HTML.
Moskovskii kontseptualizm, 2005, PDF, Log.
  • Andrei Monastyrsky (Монастырский Андрей), Slovar terminov Moskovskoi kontseptualnoi shkoly [Словарь терминов московской концептуальной школы], Moscow: Ad Marginem, 1999. (Russian)
  • Sylvia Sasse, Texte in Aktion. Sprech- und Sprachakte im Moskauer Konzeptualismus, Munich: Fink, 2003. (German)
  • Moskauer Konzeptualismus. Sammlung Haralampi G. Oroschakoff : Sammlung, Verlag und Archiv Vadim Zakharov : Kupferstichkabinett, Staatliche Museen zu Berlin, Cologne: Walter König, 2003, 176 pp. [76] [77] (German)/(English)
  • Moskovskii kontseptualizm [Московский концептуализм], eds. Ekaterina Degot and Vadim Zakharov, Moscow: WAM, 2005, 415 pp. Special issue of World Art Музей (WAM) journal, 15/16. (Russian)
  • Victor Tupitsyn, The Museological Unconscious: Communal (Post)Modernism in Russia, intro. Susan Buck-Morss and Victor Tupitsyn, MIT Press, 2009, x+341 pp. (English)
  • Boris Groys, History Becomes Form: Moscow Conceptualism, MIT Press, 2010, 224 pp. Review: Weibgen (ArtJournal 2011). (English)
  • Matthew Jesse Jackson, The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes, University of Chicago Press, 2010, 336 pp. [78]. Review: Weibgen (ArtJournal 2011). (English)
  • Moscow Symposium: Conceptualism Revisited, ed. & intro. Boris Groys, Berlin: Sternberg, 2012, 176 pp. With essays by Claire Bishop, Keti Chukhrov, Ekaterina Degot, Jörg Heiser, Terry Smith, Anton Vidokle, and Sarah Wilson. [79] (English)
  • Collective Actions: Audience Recollections from the First Five Years, 1976-1981, ed. & trans. Yelena Kalinsky, Chicago: Soberscove Press, 2012, 116 pp. A volume of audience recollections from early Collective Actions performances. Excerpt. [80]. Review: Gerber (Mute). (English)
  • Octavian Eşanu, Transition in Post-Soviet Art: The Collective Actions Group Before and After 1989, forew. Boris Groys, CEU Press, 2013, xvii+357 pp. (English)
  • Victor Agamov-Tupitsyn (Виктор Агамов-Тупицын), Vechnost vechna, potomu chto bespechna. Andrey Monastyrskiy i gruppa “Kollektivnyye deystviya” [Вечность вечна, потому что беспечна. Андрей Монастырский и группа “Коллективные действия”], Moscow: Garage, 2019, 184 pp. Dialogue between Andrei Monastyrsky and Victor Agamov-Tupitsyn. [81] (Russian)
  • Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism, ed. David A. Ross, Tacoma, WA: Tacoma Art Museum, Boston: Institute of Contemporary Art, and Cambridge, MA: MIT Press, 1990, 206 pp. Catalogue. Exh. curated by David A. Ross, Elisabeth Sussman, Margarita Tupitsyn, and Joseph Bakshtein. (English)
  • Die Totale Aufklärung: Moskauer Konzeptkunst, 1960-1990 / Total Enlightenment: Conceptual Art in Moscow, 1960-1990, eds. Boris Groys, Max Hollein and Manuel Fontán del Junco, Ostfildern: Hatje Cantz, 2008, 423 pp. Catalogue published in conjunction with the exhibition held at Schirn Kunsthalle Frankfurt, June 21-Sept. 14, 2008 and Fundación Juan March, Madrid, Oct. 10, 2008-Jan. 11, 2009. (German)/(English)
  • Field of Action: The Moscow Conceptual School in Context 1970s-1980s, eds. Aleksandra Danilova and Elena Kuprina-Lyakhovich, Moscow: Ekaterina Collection, 2010. (English)
  • Empty Zones: Andrei Monastyrski and Collective Actions / Пустые зоны. Андрей Монастырский и Коллективные действия, ed. Boris Groys, London: Black Dog Publishing, 2011, 127 pp. The Russian Pavilion at the 54th International Art Exhibition of la Biennale di Venezia, 2011. [83] [84] (English)/(Russian)
  • Moscow Conceptualism in Context, ed. Alla Rosenfeld, Munich: Prestel, and New Brunswick: Zimmerli Art Museum, 2011, 496 pp. [85]. Review: Audureau (Critique d'art 2012). (English)
  • Moskovskii kontseptualizm. Nachalo [Московский концептуализм. Начало], ed. Yuri Albert (Юрий Альберт), Nizhny Novgorod: NCCA, 2014, 271 pp. Catalogue of the 2012 exhibition at NCCA Arsenal curated by Yuri Albert. (Russian)
  • Thinking Pictures. The Visual Field of Moscow Conceptualism, ed. Jane A. Sharp, New Brunswick: Zimmerli Art Museum at Rutgers University, 2016. [86] [87]
  • Thinking Pictures: Conceptual Art from Moscow and the Baltics, eds. Anu Allas and Liisa Kaljula, Tallinn: Estonian Art Museum, 2022, 208 pp. Exhibition. Exh. review: Janušová (Artmargins). [88] (Estonian)/(English)
Journal issues
  • Iskusstvo [Искусство] 5: "Moskovskii kontseptualizm" [Московский концептуализм], 2008. Special issue of journal. (Russian)
  • Iskusstvo [Искусство] 2: "Kontseptualizm. Obraz zhizni" [Концептуализм. Образ жизни], 2011. Special issue of journal. (Russian)
  • e-flux 29: "Global Conceptualism Revisited", ed. Boris Groys, Nov 2011. (English)
Essays, interviews

East-Central Europe[edit]

The New Art Practice in Yugoslavia, 1966-1978, 1978, Log.
Klaus Groh (ed.), Aktuelle Kunst in Osteuropa, 1972, Log.
Art Always Has Its Consequences, 2010, Log.
  • Klaus Groh (ed.), Aktuelle Kunst in Osteuropa, Cologne: DuMont-Schauberg, 1972, 222 pp. One of first books to cover performance, conceptual, and mail art in Yugoslavia, Poland, Romania, Czechoslovakia, Hungary, and the Soviet Union. Short introduction by the author followed by b&w photographs, artists’ statements, and a bibliography. Archive. (German)
  • Tony Godfrey, Conceptual Art, London: Phaidon, 1998, pp 264-275, IA. (English)
  • László Beke, "Conceptualist Tendencies in Eastern European Art", in Global Conceptualism: Points of Origin 1950-1980s, eds. Jane Ferver, Luis Camnitzer and Rachel Weiss, New York: Queens Museum of Art, 1999, pp 41-51. TOC. Exh. held at Queens Museum, New York, 28 Apr-29 Aug 1999; the Walker Art Center, Minneapolis, MN, 19 Dec 1999–5 Mar 2000; Hayden Hall MIT, 24 Oct-31 Dec 2000. Exh. review: Meyer (Artforum), Johnson (NYT). (English)
  • in Conceptual Art, ed. Peter Osborne, London: Phaidon, 2002. (English)
  • Miško Šuvaković, "Konceptualna umjetnost", in Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005. (Croatian)
  • Piotr Piotrowski, "The Critique of Painting: Towards the Neo-avant-garde", "Mapping the Neo-avant-garde, c. 1970", "Conceptual Art between Theory of Art and Critique of the System", chs. 6, 7 & 8 in Piotrowski, In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945-1989, trans. Anna Brzyski, London: Reaktion Books, 2009, pp 178-237, n454-458, 241-314, n458-466, 315-340, n467-469. (English)
  • Zdenka Badovinac, Eda Čufer, Cristina Freire, Boris Groys, Charles Harrison, Vít Havránek, Piotr Piotrowski, Branka Stipančić, "Conceptual Art and Eastern Europe: Part I", e-flux 40, Dec 2012; Part 2, e-flux 41, Jan 2013. Based on a conference organised by Zdenka Badovinac in Ljubljana, 2007. (English)
  • My Sweet Little Lamb (Everything We See Could Also Be Otherwise), eds. What, How & for Whom/WHW and Kathrin Rhomberg, Zagreb: What, How & for Whom/WHW, 2017, 167 pp; new ed., exp., eds. Emily Pethick, Kathrin Rhomberg, What, How & for Whom/WHW, and Jill Winder, Berlin: Sternberg Press, and Vienna: Kontakt Collection, Mar 2023, 456 pp. Based on a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, held in Zagreb, 4 Nov 2016–8 May 2017, and The Show Room, London, Jun 2017. Texts in exp. ed. by Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, Marina Vishmidt. Publisher. (English)


  • Urszula Czartoryska, Od pop-artu do sztuki konceptualnej, Warsaw, 1973. (Polish)
  • Stefan Morawski, "Konceptualizm obcy i rodzimy", Projekt 3 (1975), pp 26-33 (Polish)
  • Urszula Czartoryska, Od pop-artu do sztuki konceptualnej, Warsaw, 1976. (Polish)
  • Alicja Kępińska, Nowa sztuka. Sztuka polska w latach 1945-1978, Warsaw: Auriga, 1981. (Polish)
  • Piotr Krakowski, "O sztuce konceptualnej", ch 6 in Krakowski, O sztuce nowej i najnowszej, Warsaw: PWN, 1981, pp 112-134. (Polish)
  • Grzegorz Dziamski, "Konceptualizm", in Od awangardy do postmodernizmu. Encyklopedia kultury polskiej XX wieku, ed. Dziamski, Warsaw, 1996, pp 369ff. (Polish)
  • Refleksja konceptualna w sztuce polskiej: doświadczenia dyskursu, 1965-1975 / Conceptual Reflection in Polish Art: Experiences of Discourse: 1965-1975, eds. Paweł Polit and Piotr Woźniakiewicz, Warsaw: Centre for Contemporary Art Ujazdowski Castle, 2000. Essays by Alicja Kepinska, Andrzej Kostolowski, Pawel Polit; interviews with Andrzej Turowski and Jerzy Ludwinski. Preface (EN). Exhibition 1. Exhibition 2. Lum & Szymczyk (ArtMargins EN 1999). Book review: Murawska-Muthesius (ArtMargins 2003 EN). (Polish)/(English)
  • Martin Patrick, "Polish Conceptualism of the 1960s and 1970s: Images, Objects, Systems and Texts", Third Text 96: "Socialist Eastern Europe", Spring 2001, pp 25-45. (English)
  • Autonomiczny ruch konceptualny w Polsce, ed. Zbigniew Warpechowski, Lublin: Galeria Stara BWA Lublin, 2002. Catalogue. (Polish)
  • Grzegorz Dziamski, "Spór o sztukę konceptualną w Polsce", Dyskurs 7 (2007), pp 194-224. (Polish)
  • Luiza Nader, "Sztuka konceptualna w Polsce",, 20 Nov 2007. (Polish)
  • Luiza Nader, Konceptualizm w PRL, Warsaw: Wydawnictwa Uniwersytetu Warszawskiego & Fundacja Galerii Foksal, 2009, 429 pp. Based on dissertation (2007). Reviews: Sienkiewicz (Dwutygodnik 2009), Szewczyk (Frieze 2010 EN), Kemp-Welch (ArtMargins 2010 EN). (Polish)
  • Łukasz Ronduda, Sztuka polska lat 70. awangarda, Jelenia Góra: Polski Western, and Warsaw: CSW Zamek Ujazdowski, 2009, 379 pp. Editorial concept: Piotr Uklański. [98] [99] (Polish)
    • Polish Art of the 70s, Jelenia Góra: Polski Western, and Warsaw: CCA Zamek Ujazdowski, 2009, 379 pp. Reviews: Szewczyk (Frieze 2010), Kemp-Welch (ArtMargins 2010). (English)
  • Wokół sporów o definicję przedmiotu sztuki. Miejsce konceptualizmu, kontekstualizmu i sztuki pojęciowej w historii sztuki najnowszej, ed. Bogusław Jasiński, Gorzów Wielkopolski: Galeria Sztuki Najnowszej, 2009. (Polish)
  • Grzegorz Dziamski, Przełom konceptualny i jego wpływ na praktykę i teorię sztuki, Poznań: Wydawnictwo Naukowe UAM, 2010, 294 pp. Chapter 6. [100] (Polish)
  • Sztuka i Dokumentacja 6: "Sztuka jako idea, ludzie, czas. W kręgu polskiego konceptualizmu", Łódź, 2012. (Polish)
  • Permafo: monografia galerii i ruchu artystycznego, ed. Anna Markowska, Wrocław: Muzeum Współczesne Wrocław, 2012, 496 pp. Lead essay. [101] (Polish)
  • Łukasz Guzek, "Performatywność sztuki konceptualnej", Dyskurs 17 (2014), pp 189-219. (Polish)
  • Klara Kemp-Welch, "NET: An Open Proposition", e-flux 98, Feb 2019. (English)


  • Tomáš Štrauss, Slovenský variant moderny, 1979 (samizdat); 2nd ed., Bratislava: Pallas, 1992, pp 55ff. (Slovak)
  • Radislav Matuštík, ...Predtým. Prekročenie hraníc, 1964-1971, 1983 (samizdat); repr., Žilina: Považská galéria umenia, 1994, 27ff. [104] (Slovak)
  • Tamara Archlebová, "Príspevok k problematike konceptuálneho umenia na Slovensku", in Súčasné výtvarné umenie, ed. Dagmar Srnenská, Bratislava, 1989, pp 98-132. (Slovak)
  • Aurel Hrabušický, "Počiatky alternatívneho umenia na Slovensku", in Šesťdesiate roky v slovenskom výtvarnom umení, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 1995, pp 218-251. (Slovak)
  • Jana Geržová, "Konceptuálne umenie", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999, pp 145-149. (Slovak)
  • Jana Geržová, "Konceptuálne umenie", in Dejiny slovenského výtvarného umenia 20. storočia, ed. Zora Rusinová, Bratislava: SNG, 2000, pp 170-178. (Slovak)
  • Marián Mudroch, Dezider Tóth (eds.), 1. otvorený ateliér, Bratislava: SCCAN, 2000, 143 pp. (Slovak)
  • Konceptuálne umenie na zlome tisícročí / Conceptual Art at the Turn of Millenium / Konceptuális művészet az ezredfordulón. International Symposium, October 15-16, 2001, Budapest/Bratislava, eds. Jana Geržová and Erzsébet Tatai, Bratislava: Slovak Section of AICA, and Budapest: AICA Section Hungary, 2002, 174 pp. Symposium proceedings. (Slovak),(English),(Hungarian)
    • Jana Geržová, "Mýty a realita konceptuálneho umenia na Slovensku" / "Myths and Reality of the Conceptual Art in Slovakia", pp 22-51. (Slovak)/(English)
  • Jana Geržová, "N(e)oklasický koncept", in Na križovatke kultúr? Zborník z medzinárodného sympózia, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 2002, pp 107-118. (Slovak)
  • Dušan Brozman, Boris Kršňák, Zo slovenského konceptuálneho umenia, Budapest: Slovenský Inštitút Budapešť, and Zvolen: Oznka, 2008. Catalogue. (Slovak)
  • Zuzana Bartošová, Napriek totalite. Neoficiálna slovenská výtvarná scéna sedemdesiatych a osemdesiatych rokov 20. storočia, Bratislava: Kalligram, 2011, 360 pp. Commentary: Hrabušický & Macek (Profil 2012). (Slovak)
  • Beata Jablonská, "Spor o slovenské 'More'", Sešit pro umění, teorii a příbuzné zóny 15, Prague: VVP AVU, 2013, pp 6-19. (Slovak)
  • Tomáš Pospiszyl, "Národní konceptualizmus. Obrozenecké motivy v díle Stana Filka a Júliuse Kollera", ch 3 in Pospiszyl, Asociativní dějepis umění: poválečné umění napříč generacemi a médii, Prague:, 2014, pp 81-121. (Czech)
  • Miękkie kody. Tendencje konceptualne w sztuce słowackiej / Soft Codes: Conceptual Tendencies in Slovak Art, Wrocław: Muzeum Współczesne Wrocław, 2015, 224 pp. Catalogue. [105], Exhibition. (Polish)/(English)
  • Daniel Grúň, Christian Höller, Kathrin Rhomberg (eds.), White Space in White Space / Biely priestor v bielom priestore, 1973-1982. Stano Filko, Miloš Laky, Ján Zavarský, Vienna: Schlebrügge, 2021, 228 pp. Project archive. Publisher. [114] [115] (English)
  • Denisa Kujelová (ed.), ČS koncept 70. let, Brno: Fait Gallery, 2021, 363 pp. Catalogue. [116] [117] [118] (Czech),(Slovak)
  • Richard Gregor (ed.), BAC: Bratislava Conceptualism / Bratislavský konceptualizmus, Bratislava: Kunsthalle Bratislava, and Liptovský Mikuláš: Liptovská galéria Petra Michala Bohúňa, 2022, 480 pp. Proceedings from the conference Could We Speak of Bratislava Conceptualism (2015). Essays incl.: Gregor, Gregor, Kralovič. [119] (English)/(Slovak)


  • Elképzelés: A magyar koncept művészet kezdetei. Beke László gyűjteménye, 1971, Budapest: Open Structures Society & tranzit. hu, 2008. (Hungarian)
  • Bookmarks: Hungarian Neo-avant-garde and Post-conceptual art from the Late 1960s to the Present / Bookmarks. Neo-Avantgarde und postkonzeptuelle Positionen in der ungarischen Kunst von den 1960ern bis heute, ed. Katalin Székely, Berlin: Distanz, 2015, 88 pp. Catalogue. [125] (English)/(German)
  • Cristina Cuevas-Wolf, Isotta Poggi (eds.), Promote, Tolerate, Ban: Art and Culture in Cold War Hungary, Los Angeles: Getty Publications, 2018, 160 pp. Fehér's essay. [128] (English)
  • 1971 – Párhuzamos különidők, eds. Dóra Hegyi, Zsuzsa László, Zsóka Leposa, and Enikő Róka, Budapest:, 2022. Exhibition. Exhibition. Publisher. (Hungarian)
    • 1971 – Parallel Nonsynchronism, eds. Dóra Hegyi and Eszter Szakács, Budapest:, and Bucharest: PUNCH, 2022, 332 pp. Publisher. Publisher. Review: Świtek (Art East/Central). Exh. review: Laszlo & Roka (mezosfera). (English)

Czech Republic[edit]



The Continuous Art Class: The Novi Sad Neo-Avant-Garde of the 1960s and 1970s, 2005, Log.



  • Konceptualna umetnost 60-ih in 70-ih let, eds. Ljubica Klančar, Lilijana Stepančič, and Igor Španjol, Ljubljana: Galerija ŠKUC, 1997, 70 pp. [133] (Slovenian)
  • R., "Konceptualizem", Pojmovnik slovenske umetnosti 1945-2005, Ljubljana: Raziskovalni inštitut ALUO, n.d. (Slovenian)


  • Thinking Pictures: Conceptual Art from Moscow and the Baltics, eds. Anu Allas and Liisa Kaljula, Tallinn: Estonian Art Museum, 2022, 208 pp. Exhibition. Exh. review: Janušová (Artmargins). [134] (Estonian)/(English)
  • Ieva Astahovska, "Struktuurid ja mudelid, absurd ja paradoksid. Kontseptuaalse kunsti katsetused Lätis 1970. ja 1980. aastatel" / "Structures and Models, Absurdities and Paradoxes: Conceptual Art Explorations in Latvia in the 1970s and 1980s", Eesti Kunstimuuseumi Toimetised / Proceedings of the Art Museum of Estonia 13, Tallinn: KUMU, 2023, pp 85-99, 100-126. [135] (Latvian)/(English)

Latin America[edit]


  • Okwui Enwezor, "Where, What, Who, When: a Few Notes on 'African' Conceptualism", in Global Conceptualism: Points of Origin 1950-1980s, eds. Jane Ferver, Luis Camnitzer and Rachel Weiss, New York: Queen's Museum of Art, 1999, pp 109-117. Catalogue essay. (English)
  • Authentic/Ex-Centric: Conceptualism in Contemporary African Art, eds. Salah M. Hassan and Olu Oguibe, Ithaca, NY: Forum for African Arts, 2001, 263 pp. Catalogue. Lead essay, Hassan. [144] (English)


global, transversal[edit]

  • Global Conceptualism: Points of Origin 1950-1980s, eds. Jane Ferver, Luis Camnitzer and Rachel Weiss, New York: Queen's Museum of Art, 1999. Catalogue. Foreword. TOC. Exh. review: Platt (Art Papers). [145] [146] [147] (English)
  • Peter Osborne (ed.), Conceptual Art, London: Phaidon, 2002, 304 pp. [148], TOC. (English)
  • Alexander Alberro, Sabeth Buchmann (eds.), Art After Conceptual Art, Cambridge, MA: MIT Press, and Vienna: Generali Foundation, 2006, 240 pp. [149] (English)
  • Miško Šuvaković, "Konceptualna umjetnost", in Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005. (Croatian)
  • Miško Šuvaković, Konceptualna umetnost, Novi Sad: MSUV, 2007; new ed., Belgrade: Orion Art, 2012, 862 pp. [150] (Serbian)
  • "Global Conceptualism Reconsidered", eds. Zanna Gilbert, Yu-Chieh Li and Magdalena Moskalewicz, post, New York: MoMA, Apr-Sep 2015. Essays by Rachel Weiss, Jane Farver; interviews with Reiko Tomii, Luis Camnitzer, Margarita Tupitsyn, and László Beke. (English)


See also[edit]