Conceptual art

Also concept art, idea art, conceptualism.

Artists, collectives

• Group 143
• Vladimír Ambroz
• Eleanor Antin
• Art & Language
• Art & Project
• B.K.S.
• John Baldessari
• Peter Bartoš
• László Beke
• Włodzimierz Borowski
• Bosch+Bosch
• Marcel Broodthaers
• Luis Camnitzer
• Ulises Carrión
• Rosemarie Castoro
• Hanne Darboven
• Agnes Denes
• Braco Dimitrijević
• Goran Đorđević
• Miklós Erdély
• Stano Filko
• Konrad Fischer
• Andrea Fraser
• Galeria Akumulatory 2
• Galerie MTL
• General Idea
• Gorgona
• Hans Haacke
• Douglas Huebler
• Mary Kelly
• J.H. Kocman
• Kôd Group
• Július Koller
• Marek Konieczny
• Joseph Kosuth
• Sol LeWitt
• Lucy R. Lippard
• Lee Lozano
• Tom Marioni
• Dóra Maurer
• Moscow Conceptualists
• New Tendencies
• Lorraine O'Grady
• OHO
• Anna Oppermann
• Ewa Partum
• Paula Cooper Gallery
• Adrian Piper
• Sarkis Zabunyan
• Seth Siegelaub
• Mladen Stilinović
• Mierle Laderman Ukeles
• Jiří Valoch
• Cecilia Vicuña
• Franz Erhard Walther
• Lawrence Weiner

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

On New York conceptualism

• 

  Robert Morris, Card File, 1962. Metal and plastic wall file mounted on wood, containing 44 index cards. 68,5 x 26,5 x 5 cm.

• 

  Ed Ruscha, from Twentysix Gasoline Stations, 1963. 17.9 × 14 cm. Log, PDF.

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

Essays, statements

New York

• Henry Flynt, "Concept Art", in An Anthology of Chance Operations, eds. La Monte Young and Jackson Mac Law, New York, self-published, 1963, JPG; revised in 2nd ed., New York: H. Friedrich, 1970. [1] [2] (English)

• 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

• 

  Art-Language, 1969-78

• 

  The Fox, 1975-76, PDFs

• 

  Vision, 1975-81, Log/1, PDF

• 

  Red-herring, 1977-78

• 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

• 

  Sol LeWitt, Four Basic Kinds of Straight Lines, 1969, Log, PDF

• 

  Avalanche 4: Conceptual Art, 1972

• 

  Blurting in A & L [Art & Language], 1973, Log, HTML

• 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.

Catalogues

• 

  Xerox Book, 1968, Log, PDF

• 

  January 5-31, 1969, 1969, PDF, PDF

• 

  Live In Your Head: When Attitudes Become Form, 1969, PDF

• 

  July, August, September 1969, 1969, PDF

• 

  Information, 1970, Log, PDF. Exhibition

• 

  Software, 1970, Log, PDF. Exhibition

• 

  In Another Moment, 1971, Log, PDF

• 

  Documenta 5, 1972, Log, PDF/a, PDF/b

• 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)

• January 5-31, 1969, New York: Seth Siegelaub, 1969, PDF. Works by Barry, Huebler, Kosuth, Weiner. [22] (English)

• March 1969, ed. Seth Siegelaub, 1969, [31] pp. [23]

• 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)

• Live In Your Head: When Attitudes Become Form: Works-Concepts-Processes-Situations-Information, ed. Harald Szeemann, Bern: Kunsthalle Bern, 1969, [164] pp. Exh. curated by Harald Szeemann; held at Kunsthalle Bern, 22 Mar-27 Apr 1969. Video documentation. Exh. photographs. [25] [26] (English)/(German)/(French)

• Number 7, ed. Lucy Lippard, New York: Paula Cooper Gallery, 1969. A benefit show for the Art Workers’ Coalition; also included women artists (Christine Kozlov, Rosemarie Castoro, Hanne Darboven, Adrian Piper, Ingrid Baxter of NE Thing). Exh. held 18 May-17 Jun 1969. Discussed in Lippard 2009, Siegelaub 2013.

• July, August, September 1969. Juillet, Août, Septembre 1969. Juli, August, September 1969, ed. Seth Siegelaub, 1969, 26 pp. An exhibition for which 11 artists made work from different locations in the world; the catalogue provided the last location and a description of the work; with Andre, Barry, Buren, Dibbets, Huebler, Kosuth, LeWitt, Long, N.E. Thing Co. Ltd., Smithson, and Weiner. [27] (English),(French),(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)

• July/August Exhibition. Juillet/Août Exposition. Juli/August Ausstellung, ed. Seth Siegelaub, London: Studio International, 1970, 48 pp. Special issue of magazine. [41] (English)/(French)/(German)

• Software: Information Technology: Its New Meaning for Art, New York: Jewish Museum, 1970, 71 pp. Exh. curated by Jack Burnham, 16 Sep-8 Nov 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.

Anthologies

• Conceptual Art, ed. Ursula Meyer, New York: E.P. Dutton, 1972, xx+227 pp. (English)

• Idea Art: A Critical Anthology, ed. Gregory Battcock, New York: E. P. Dutton, 1973, xii+203 pp, IA. (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)

• Conceptual Art: A Critical Anthology, eds. Alexander Alberro and Blake Stimson, MIT Press, 1999, 623 pp. (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

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

the West

Lucy Lippard, Six Years, 1973, JPG, PDF (129 mb), Log.

Books

• 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)

• Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 ..., New York: Praeger, 1973, 272 pp; repr., University of California Press, 1997, 272 pp. (English)

• Lew Thomas, Structural(ism) and Photography, intro. John Brumfield, San Francisco: NFS Press, 1978, 112 pp. Book on conceptualist photography.

• 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)
  • "‘Concept’ Art and Conceptual Aspects", trans. Isabel Adey, Art in Translation 12:3, 2020. Trans. of the chapter "El arte de ‘concepto’ y los aspectos conceptuales". (English)

• Thomas Dreher, Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976, Frankfurt a.M.: Lang, 1992, 445+16 pp. (German)

• Robert C. Morgan, Conceptual Art: An American Perspective, forew. Michael Kirby, Jefferson, NC: McFarland & Company, 1994. (English)

• Robert C. Morgan, Art Into Ideas: Essays on Conceptual Art, Cambridge University Press, 1996. (English)

• Alexander Alberro, Patricia Norvell (eds.), Recording Conceptual Art. Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell, University of California Press, 2001, 177 pp. Publisher. (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)

• Julie Ault (ed.), Alternative Art New York, 1965-1985: a Cultural Politics Book for the Social Text Collective, University of Minnesota Press, with New York: Drawing Center, 2002, ix+396 pp, IA. Publisher. TOC. (English)

• Alexander Alberro, Conceptual Art and the Politics of Publicity, MIT Press, 2003, ARG. (English)

• Charles Harrison, Conceptual Art and Painting: Further Essays on Art & Language, MIT Press, 2003, 248 pp. Publisher. (English)

• Michael Corris (ed.), Conceptual Art: Theory, Myth, and Practice, Cambridge University Press, 2004, 380 pp. Introduction. Publisher. (English)

• Thomas McEvilley, The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism, Kingston, NY: McPherson, 2005, 391 pp. (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)

• Liz Kotz, Words To Be Looked At: Language in 1960s Art, MIT Press, 2007, 333 pp. (English)

• Peter Goldie, Elisabeth Schellekens (eds.), Philosophy and Conceptual Art, Oxford University Press, 2007, PDF. (English)

• John Roberts, The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, London and New York: Verso Books, 2007, 249 pp. Publisher. (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)

• Sophie Richard, Unconcealed: The International Network of Conceptual Artists 1967-1977: Dealers, Exhibitions and Public Collections, ed. & intro. Lynda Morris, Norwich: Ridinghouse, with Norwich University College of the Arts, 2009, 512 pp. Introduction. [53] [54]. Reviews: Walker (Art Book) [55], Rose (Studio Intl), Baker (Oxford Art J), Godfrey (Frieze). (English)

• Aimee Selby (ed.), Art and Text, London: Black Dog Publishing, 2009, 288 pp, IA. Contributions by Dave Beech, Charles Harrison, Will Hill. (English)

• Gwen Allen, Artists' Magazines: An Alternative Space for Art, MIT Press, 2011, 300 pp. (English)

• Catherine Morris, Vincent Bonin (eds.), Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art, pref. Lucy R. Lippard, MIT Press, and New York: Brooklyn Museum of Art, 2012, 304 pp. Publisher. Reviews: Bury (Cassone), Tang (Artforum). (English)
  • Julia Bryan-Wilson, "Still Relevant: Lucy Lippard, Feminist Activism, and Art Institutions", pp 70-92.

• Cornelia H. Butler, et al., From Conceptualism to Feminism: Lucy R. Lippard's Numbers Shows, 1969-74, London: Afterall Books, 2012, 304 pp. TOC. Publisher. (English)

• Eve Meltzer, Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn, University of Chicago Press, 2013, PDF. (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)

• Kirsten Swenson, Irrational Judgments: Eva Hesse, Sol LeWitt, and 1960s New York, Yale University Press, 2015, ARG. (English)

• Eve Kalyva, Image and Text in Conceptual Art: Critical Operations in Context, Palgrave Macmillan, 2016, xiii+264 pp. Publisher. (English)

• Terry Smith, One and Five Ideas: On Conceptual Art and Conceptualism, ed. & intro. Robert Bailey, Duke University Press, 2017, 168 pp, PDF. Publisher. (English)

• Nizan Shaked, The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art, Manchester University Press, 2017, 280 pp, ARG. Publisher. (English)

• Nathalie Zonnenberg, Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation, Amsterdam: Valiz, 2019, 240 pp. Publisher. (English)

• Heather Diack, Documents of Doubt: The Photographic Conditions of Conceptual Art, University of Minnesota Press, 2020, 296 pp. Publisher. (English)

• Faye Raquel Gleisser, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967-1987, University of Chicago Press, 2023, 264 pp. Publisher. (English)

Catalogues

• 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)

• Bay Area Conceptualism: Two Generations, Buffalo, NY: Hallwalls, 1989, 40 pp. Texts by Nayland Blake and Renney Pritikin. Exh. held 15 Sep-10 Nov 1989. [58] (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)

• Henry Flynt 2011 Concept Art 50 Years, eds. Henry Flynt and Catherine Christer Hennix, Berlin: Grimmuseum, 2011, 52 pp. (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

• Ian Burn, "The Sixties: Crisis and Aftermath", Art & Text 1, Victoria, Autumn 1981, pp 49-65.

• Benjamin H.D. Buchloh, "De l'esthétique d'administration à la critique institutionnelle (Aspects de l'art conceptuel, 1962-1969)", in L'art conceptuel, une perspective, Paris: Musée d’Art Moderne de la Ville de Paris, 1989, pp 25-29; repr. in Buchloh, Essais historiques II, Lyon: Art édition, 1992, pp 155-212. (French)
  • "Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions", October 55, Winter 1990, pp 105-143. (English)
  • more translations

• Joseph Kosuth, Seth Siegelaub, "Reply to Benjamin Buchloh on Conceptual Art", October 57, Summer 1991, pp 152-157. [73] (English)

• 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)

• Silvia Kolbowski, "An Inadequate History of Conceptual Art", October 92 (2000), pp 53-70. (English)

• Jayne Wark, "Conceptual Art and Feminism: Martha Rosler, Adrian Piper, Eleanor Antin, and Martha Wilson", Woman's Art Journal 22:1 (Spring-Summer 2001), pp 44-50. (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)

• Andrea Fraser, "What's Intangible, Transitory, Mediating, Participatory, and Rendered in the Public Sphere? Part II", in Fraser, Museum Highlights: The Writings of Andrea Fraser, ed. Alexander Alberro, MIT Press, 2005, pp 55-80, PDF.
  • translations

• Sandra Kaji-O'Grady, "The London Conceptualists: Architecture and Performance in the 1970s", Journal of Architectural Education 61:4 (2008), pp 43-51. (English)

• Jayne Wark, "Conceptual Art in Canada: Capitals, Peripheries and Capitalism", in The Visual Arts in Canada: The Twentieth Century, eds. Anne Whitelaw, Brian Foss, and Sandra Paikowsky, Oxford University Press, 2010, pp 330-347. (English)

• Terry Smith, "One and Three Ideas: Conceptualism Before, During and After Conceptual Art", e-flux 29 (Nov 2011). (English)

• Jayne Wark, "Conceptual Art in Canada: The East Coast Story", in Traffic: Conceptual Art in Canada 1965-1980, eds. Grant Arnold and Karen Henry, Vancouver: Vancouver Art Gallery, et al., 2012, pp 10-37, HTML. (English)

• Jo Melvin, "The British Avant Garde: A Joint Venture Between the New York Cultural Center and Studio International Magazine", British Art Studies 3, Jul 2016, PDF. (English)

• Jacob Stewart-Halevy, "California Conceptualism's About-Face", October 163, Winter 2018, pp 71-101. (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)

• Miško Šuvaković, "Njujorška 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 Grove Art Online, 2009. [74] (English)

• David Craven, "Conceptual Art", in The Grove Encyclopedia of American Art, 1, Oxford University Press, 2010, 527-531. (English)

• "Conceptual art", Tate, n.d. (English)

• Zoltán Sebők, "Conceptual art", Artportal, Budapest, n.d. (Hungarian)

Theses

• Marilyn Ekdahl Ravicz, Aesthetic Anthropology: Theory and Analysis of Pop and Conceptual Art in America, Los Angeles: University of California, 1974, 486 pp. PhD thesis. (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)

• Camiel van Winkel, During the Exhibition the Gallery Will Be Closed: Contemporary Art and the Paradoxes of Conceptualism, Amsterdam: University of Amsterdam, 2012, 273 pp. Published as a book by Valiz, Amsterdam, 2012. (English)

• Louisa Lee, Discursive Sites: Text-Based Conceptual Art Practice in Britain, York: University of York, 2018, 322 pp. PhD thesis. (English)

Bibliography

• Annotated bibligraphy, Stanford U Libraries.

Soviet Union, Russia

Andrei Monastyrsky, Dictionary of Moscow Conceptualism, 1999/2010, PDF, HTML.

Moskovskii kontseptualizm, 2005, PDF, Log.

Books

• Andrei Monastyrsky (Монастырский Андрей), Slovar terminov Moskovskoi kontseptualnoi shkoly [Словарь терминов московской концептуальной школы], Moscow: Ad Marginem, 1999. (Russian)
  • Dictionary of Moscow Conceptualism (An Adaptation), trans., annot. & illustr. Octavian Eşanu, Contimporary, 2010, 161 pp, PDF, HTML. (English)
• 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)

Catalogues

• 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)
  • La Ilustración total: arte conceptual de Moscú, 1960-1990 / Total Enlightenment: Conceptual Art in Moscow, 1960-1990, Madrid: Fundación Juan March, and Ostfildern: Hatje Cantz, 2008, 424 pp. [82] (Spanish)/(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

• Boris Groys (Борис Гройс), "Ekzistentsialnyye predposylki kontseptualnogo iskusstva" [Экзистенциальные предпосылки концептуального искусства], 37 (samizdat) [Машинописный журнал "37"], No 12, Leningrad, 1977.
• Boris Groys (Борис Гройс), "Moskovskii romanticheskii kontseptualizm / Moscow Romantic Conceptualism" [Московский романтический концептуализм], A-Ya [А-Я] 1, Paris, 1979, pp 3-11; RU repr. in Moskovskii konceptualizm, eds. Degot and Zakharov, 2005; EN repr. in Groys, History Becomes Form: Moscow Conceptualism, 2010, pp 35-55. First published in the samizdat magazine 37, Leningrad, 1979. (Russian)/(English)
• Ekaterina Degot (Екатерина Дёготь), "Другое чтение других текстов. Московский концептуализм перед лицом идиоматического документа", NLO [НЛО] 22 (1996). (Russian)
• Victor Tupitsyn, "Moscow Communal Conceptualism", Parachute, Montreal, Apr 1996, pp 24-29. [89] (English)
  • "Moskovskiy kommunalnyy kontseptualizm" [Московский коммунальный концептуализм], n.d. (Russian)
• Margarita Tupitsyn, "About Early Soviet Conceptualism", in Global Conceptualism: Points of Origin, 1950s-1980s, eds. Jane Ferver, et al., New York: Queens Museum of Art, 1999, pp 99-107, JPGs. (English)
• Ekaterina Degot (Екатерина Дёготь), "Kontseptualnyy proyekt" [Концептуальный проект], in Degot, Russkoye iskusstvo XX veka [Русское искусство ХХ века], Moscow: Trilistnik, 2000, pp 154-209. (Russian)
• Victor Tupitsyn (Виктор Тупицын), "Moskovskiy partizanskiy kontseptualizm" [Московский партизанский концептуализм], Stella Art Foundation, c2009. (Russian)
• Isabelle Després, "Le conceptualisme moscovite: art progressiste ou dissidence idéologique?", ILCEA 16 (2012). (French)
• Emanuel Landolt, Michail Maiatsky, "Une philosophie dans les marges: le cas du conceptualisme moscovite", Cahiers du monde Russe 53:4 (2012). [90] (French)
• Yelena Kalinsky, "Drowning in Documents: Action, Documentation, and Factography in Early Work by the Collective Actions Group", ARTMargins 2:1, 2013, pp 82-105. (English)
• Ksenya Gurshtein , "Utopia by Mail: Komar and Melamid’s A Catalogue of Superobjects: Supercomfort for Superpeople", Getty Research Journal 6, 2014, pp 203-213. (English)
• Olga Martin, "Moscow Conceptualism in the 1980s: Interview with Sabine Hänsgen (Zurich)", ARTMargins, 28 Aug 2015. (English)
• Mary A. Nicholas, "Rereading Moscow Conceptualism", Slavic Review 75:1, Spring 2016, pp 22-51. (English)
• Yuriy Leyderman (Юрий Лейдерман), "Razgovor s A.Monastyrskim o 'khudozhestvennoy situatsii'" [Разговор с А.Монастырским о 'художественной ситуации'] , Prostory, 13 Dec 2016. (Ukrainian)
• John Roberts, "After Moscow Conceptualism Reflections on the Center and Periphery and Cultural Belatedness", ARTMargins 9:1, Feb 2020, pp 47-57. [91] (English)

Dissertations

• Adrian Barr, Archaeologies of the Avant-Garde, Rutgers University, 2011, xiv+279 pp. Dissertation. [92] (English)

Bibliographies

• Bibliographies on Moscow Conceptualism page, ed. Sergey Letov.
• Bibliography on Conceptualism-Moscow.org

East-Central Europe

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)

• Vision 2: "Eastern Europe", ed. Tom Marioni, San Francisco: Crown Point Press, Jan 1976. [93] (English)

• The New Art Practice in Yugoslavia, 1966-1978, ed. Marijan Susovski, Zagreb: Gallery of Contemporary Art, 1978, 148 pp. Exh. cat. (English)/(Serbo-Croatian)

• 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)

• Desa Philippi, "Matter of Words: Translations in East European Conceptualism", in Rewriting Conceptual Art, eds. Michael Newman and Jon Bird, London: Reaktion Books, Dec 1999, pp 152-168. (English)

• "Conceptual Art and Times of Transition", ch. 3 in Primary Documents: A Sourcebook for Eastern and Central European Art Since the 1950s, eds. Laura Hoptman and Tomáš Pospiszyl, New York: Museum of Modern Art, Dec 2002, pp 122-195. (English)

• in Conceptual Art, ed. Peter Osborne, London: Phaidon, 2002. (English)

• Miško Šuvaković, "Konceptualna umjetnost", in Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005. (Croatian)

• IRWIN (ed.), East Art Map: Contemporary Art and Eastern Europe, London: Afterall, 2006, 527 pp, IA. (English)

• Miško Šuvaković, Konceptualna umetnost, Novi Sad: MSUV, 2007, 862 pp; new ed., Belgrade: Orion Art, 2012, 862 pp. [94] [95] (Serbian)

• Novine Galerije Nova 18: "Nevidljiva povijest izložbi / Invisible History of Exhibitions", eds. What, How & for Whom/WHW, Zagreb: What, How & for Whom/WHW, and Zagreb: AGM, Dec 2008, 58 pp. Exh. cat. (Croatian)/(English)

• Novine Galerije Nova 19/20: "Nevidljiva povijest izložbi 2: paralelne kronologije / The Invisible History of Exhibitions 2: Parallel Chronologies", eds. Dóra Hegyi, Zsuzsa László, and What, How & for Whom/WHW, Zagreb: What, How & for Whom/WHW, and Zagreb: AGM, Jul 2009, 43 pp. Exh. cat. Publisher. (Croatian)/(English)

• 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)

• Art Always Has Its Consequences, eds. WHW, tranzit.hu, Muzeum Sztuki w Łodzi, and kuda.org, Zagreb: WHW, 2010, 265 pp. (English)

• Removed From the Crowd: Unexpected Encounters 1, eds. Ivana Bago and Antonia Majača with Vesna Vuković, Zagreb: BLOK & DeLVe, 2011, 312 pp. (English)

• Ksenya A. Gurshtein, TransStates: Conceptual Art in Eastern Europe and the Limits of Utopia, University of Michigan, 2011, 323 pp. PhD thesis. [96] (English)

• ARTMargins 1(2-3): "Artists' Networks in Latin America and Eastern Europe", eds. Klara Kemp-Welch and Cristina Freire, 2012. (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)

• Maja Fowkes, The Green Bloc: Neo-Avant-Garde Art and Ecology under Socialism, Budapest and New York: Central European University Press, Jul 2015, viii+299 pp. Publisher. Reviews: Cseh-Varga (Springerin), Debeusscher (Critique d'art), Filipovic (AM J), Laki (Flash Art CS). (English)

• Revista Arta 6(20-21): "Conceptualismul în Europa Centrală și de Est / Conceptualism in Eastern and Central Europe", ed. Cristian Nae, Bucharest, Sep 2016, 191 pp. [97] (Romanian)/(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)

• Klara Kemp-Welch, Networking the Bloc: Experimental Art in Eastern Europe 1965-1981, MIT Press, Feb 2019, xi+468 pp. Publisher. Reviews: Nae (ARTMargins), Tomkova (H-Net), Hughes (Critique d'art). (English)

• Maja Fowkes, Reuben Fowkes, Central and Eastern European art since 1950, London: Thames & Hudson, Mar 2020, 232 pp. Introduction. Publisher. Reviews: Nae (ARTMargins), Rousseva (CAA), Schultz (Art Monthly), Placáková (Artportal.hu), Placáková (Artalk.cz, CZ).

Poland

• 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. Exh.review: 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", Culture.pl, 20 Nov 2007. (Polish)
  • "Conceptual Art in Poland. Spaces of Discourse", Culture.pl, 20 Nov 2007. (English)
• 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)
  • Permafo 1970-1981, ed. Anna Markowska, Wrocław: Wrocław Contemporary Museum, and Motto Books, 2013, 456 pp. Introduction. [102] [103] (English)
    • Anna Markowska, "Permafo 1970-1981: Zbigniew Dłubak, Antoni Dzieduszycki, Natalia LL, Andrzej Lachowicz", pp 13-101.
• 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)

Slovakia

• 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)

• Aurel Hrabušický, "Umenie fantastického odhmotnenia", in Slovenské vizuálne umenie 1970–1985, ed. Aurel Hrabušický, Bratislava: SNG, 2002, pp 143-188. (Slovak)

• Tomáš Štrauss, "Niektoré charakteristické črty konceptualizmu na Slovensku", in Slovenské vizuálne umenie 1970–1985, ed. Aurel Hrabušický, Bratislava: SNG, 2002, pp 221-225. (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)

• Eva Kapsová, Konceptuálne tendencie vo výtvarnom umení, Banská Bystrica: Akademia umení, 2002, 180 pp. (Slovak)

• Dušan Brozman, Boris Kršňák, Zo slovenského konceptuálneho umenia, Budapest: Slovenský Inštitút Budapešť, and Zvolen: Oznka, 2008. Catalogue. (Slovak)

• Roman Gajdoš, Konceptuálny text. Genéza a metamorfózy, Trnava: Typi Universitatis Tyrnaviensis, 2010, 130 pp. (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)

• Zuzana Biľová, Inštitucionálne prijatie konceptuálneho umenia v Európe, Prague: Karlova univerzita, 2011, 104+68 pp. Master's thesis. (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: tranzit.cz, 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)

• Vladimír Beskid, "Kozmológia a cesta papierovým vesmírom", Flash Art Czech & Slovak Edition 37, Oct-Dec 2015, pp 48 ff. (Slovak)

• Zuzana Biľová, Brücken für künstlerische Formen. Netzwerke der Kunst zwischen Westdeutschland und der Tschechoslowakei in der Zeit des Kalten Krieges (1968-1989), Munich: Ludwig-Maximilians-Universität München, 2017, 334+83 pp. PhD dissertation. [106] (German)

• Ján Kralovič, Majstrovstvo za dverami: Majstrovstvá Bratislavy v posune artefaktu (1979-1986) v kontexte bytových výstav 70. a 80. rokov 20. storočia, Bratislava: Slovart (Dejiny), and Bratislava: Vysoká škola výtvarných umení, 2017, 327 pp. [107] [108] [109] (Slovak)

• Erzsébet Tatai, "Signal - Konceptuális és posztkonceptuális tendenciák a szlovák képzőművészetben", Balkon 26:6-7, 2019, pp 14-23. Exh. review. [110] (Hungarian)
  • "Signál – konceptuálne a postkonceptuálne tendencie v slovenskom umení" [Signál – Conceptual and Post-Conceptual Tendencies in Slovakia’s Art], trans. Anna Antalová, Profil 3, Bratislava, 2019, pp 114-141. (Slovak)

• Daniela Čarná (ed.), 1. otvorený ateliér, 1970-2020, Bratislava: Galéria 19, 2020, 87 pp. Catalogue. [111] [112] [113] (Slovak)

• 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)

• Paula Gortázar, "Cosmos, Fiction and Transcendence: Photography and Conceptual Art in Communist Bratislava", Third Text 37:1, 2023, pp 61-86. (English)

• Aurel Hrabušický (ed.), U.F.O. Umenie Fantastického Odhmotnenia, Bratislava: Slovenská národná galéria, 2024, 261 pp. Exh. catalogue. (Slovak)

• Haptická ozvena. Príroda, telo, politika v umení bývalej Juhoslávie a Československa, ed. Daniel Grúň, Bratislava: Galéria mesta Bratislavy, 2024. Catalogue. Exhibition. (Slovak)

Hungary

• Tendenciák 1970–1980. 6. Kemény és lágy. Posztkonceptuális tendenciák, kiállításkatalógus, ed. László Beke, Budapest: Óbuda Galéria, 1981. (Hungarian)
• Miklós Peternák, A konceptuális mûvészet hatása Magyarországon / Conceptual Art in Hungary, [1988] 1997; new ed. as koncept.hu: A konceptuális művészet hatása Magyarországon / concept.hu: The Influence of Conceptual Art in Hungary, Paks: Art Gallery Paks, and Budapest: C3 Foundation, 2014, 199 pp, HTML. First appeared in 1997 as an electronic publication of manuscript from 1988. [120]. Exhibition (2014). [121] (Hungarian)/(English)
• Éva Körner, "Az abszurd mint koncepció (jelenetek a magyar koncept art történetéből)", Balkon 1 & 2 (1993); repr. as "Az abszurd mint koncepció – A magyar konceptualizmus jelenségei", in Velencei Biennále XLV. Nemzetközi Művészeti Kiállítás Magyar Pavilon, 1993, pp 185-198. (Hungarian)
  • "The Absurd as Concept: Phenomena of Hungarian Conceptualism", in Art & Design 9: "New Art from Eastern Europe: Identity and Conflict", ed. Paul Crowther, London: Academy Editions, Mar-Apr 1994, pp 54-59. [122] (English)
• A konceptuális művészet Magyarországon. Előadások a C3-ban, Budapest, 1997. Video documentation of lecture series. (Hungarian)
• A magyar neoavantgarde első generációja, ed. Júlia Fabényi, Szombathely: Szombathelyi Képtár, 1998. Catalogue. (Hungarian)
• 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, Budapest and Bratislava: AICA, 2002, 174 pp. Symposium proceedings. (Slovak),(English),(Hungarian)
• Júlia Klaniczay, Edit Sasvári (eds.), Törvénytelen avantgárd: Galántai György balatonboglári kápolnaműterme 1970-1973, Budapest: Artpool–Balassi, 2003, 459 pp. The first comprehensive publication on performance and conceptual art events between 1970 and 1973 at the Balatonboglár Chapel in Hungary, founded by the artist György Galántai, the sort of activities that would be banned from 1974 until 1990 in Hungary. Chronicles the abandoned chapel as a unique site for experimental art in Hungary during state socialism, and includes an extensive chronology, previously unpublished archival documents, photographs and texts, interviews, and a bibliography. [123] (Hungarian)
• László Beke, "A magyar konceptuális művészet szubjektív története", in Né/ma? Tanulmányok a magyar neoavantgárd köréből, eds. Pál Deréky and András Müllner, Budapest: Ráció Kiadó, 2004, pp 227-239. (Hungarian)
• Miklós Peternák, "Művészet, kutatás, kísérlet. Tudományos terminusok, módszerek, utalások és fogalmi rendszerek a művészetben az 1940-es és 1970-es évek között", Ars Hungarica 1 (2005), pp 193-212. (Hungarian)
• Erzsébet Tatai, Neokonceptuális művészet Magyarországon a kilencvenes években, Budapest: Praesens, 2005, 232 pp. Based on PhD dissertation. Reviews: Rieder (artPortal 2007), Sturcz, Turai (Ars Hungarica 2008). (Hungarian)
• Edit András, "Transgressing Boundaries (Even Those Marked Out by the Predecessors) in the New Genre Conceptual Art", in Art After Conceptual Art, eds. Alexander Alberro and Sabeth Buchman, MIT Press, and Vienna: Generali Foundation, 2006, pp 163-178. [124] (English)

• Elképzelés: A magyar koncept művészet kezdetei. Beke László gyűjteménye, 1971, Budapest: Open Structures Society & tranzit. hu, 2008. (Hungarian)
  • Imagination/Idea. The Beginning of Hungarian Conceptual Art. The László Beke Collection, 1971, eds. Dóra Hegyi, Zsuzsa László and Eszter Szakács, Budapest: tranzit.hu, and Zurich: JRP Ringier, 2014, 368 pp. Book launch at Secession Vienna, Book launch at tranzit.hu, Report by Medosch. (English)

• Konceptualizmus Ma. Konceptualizmus Magyarországon a kilencvenes évek elejétől, ed. Zoltán Prosek, Paks: Paksi Képtár, 2013, 41 pp. Catalogue. (Hungarian)

• Katalin Székely, "Mert mindenki csak ül meg áll. Lábjegyzetek egy meg nem írt könyvhöz", exindex, 11 Nov 2013. (Hungarian)

• Emese Kürti, "Ezoterikus avantgárd. A koncept/konceptuális paradigma", exindex, 4 Aug 2014. (Hungarian)
  • "Esoteric Avant-garde: The Concept/Conceptual Paradigm", exindex, 4 Aug 2014. (English)

• 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)

• Erzsébet Tatai, "konceptuális művészet (koncept művészet Magyarországon)", Artportal Lexikon, Budapest, n.d. (Hungarian)

• Maja and Reuben Fowkes, "Placing Bookmarks: The Institutionalisation and De-Institutionalisation of Hungarian Neo-Avant-Garde and Contemporary Art", Tate Papers 26, 2016. (English)

• Expozíció – Fotó/mûvészet / Exposition – Photo/Art, 1976/2017, ed. Flóra Barkóczi, Budapest: Vintage Gallery, 2017. On the use of photography among conceptual artists in Hungary in the 1970s. [126] (Hungarian)/(English)

• Edit Sasvári, Sándor Hornyik, Hedvig Turai (eds.), Art in Hungary 1956-1980: Double Speak and Beyond, London: Thames & Hudson, 2018, 384 pp. [127] (English)
  • Flóra Barkóczi, "Creative (Dis)Courses: The Forms, Methods and Locations of Alternative Art Pedagogy in Hungary", pp 95-112.

• 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)

• Evasion Techniques: Subversive strategy and cocking a snook at authority in the Hungarian Avant-garde in the 1960s and '70s, eds. Giuseppe Garrera, József Készman, Viktória Popovics and Sebastiano Triulzi, Rome: Palazzo delle Esposizioni, 2020. Exhibition. Works. (English)
  • Tecniche d'evasione, Rome: Palazzo delle Esposizioni, 2020. (Italian)

• Katalin Cseh-Varga, The Hungarian Avant-Garde and Socialism: The Art of the Second Public Sphere, Bloomsbury, 2022, 264 pp, EPUB. Publisher. (English)

• 1971 – Párhuzamos különidők, eds. Dóra Hegyi, Zsuzsa László, Zsóka Leposa, and Enikő Róka, Budapest: tranzit.hu, 2022. Exhibition. Exhibition. Publisher. (Hungarian)
  • 1971 – Parallel Nonsynchronism, eds. Dóra Hegyi and Eszter Szakács, Budapest: tranzit.hu, and Bucharest: PUNCH, 2022, 332 pp. Publisher. Publisher. Review: Świtek (Art East/Central). Exh. review: Laszlo & Roka (mezosfera). (English)

• more

Czech Republic

• Petr Rezek, "Vztah kritiky ke konceptuálnímu umění", in Rezek, Tělo, věc a skutečnost v umění šedesátých a sedmdesátých let, 2nd ed., Prague: Galerie Ztichlá klika, 2010, pp 231-240. Written 1981. (Czech)
• Jiří Valoch, "Land art a konceptuální umění / Land Art and Conceptual Art", in Krajina / Landscape, ed. Marta Smolíková, Prague: Soros Foundation, 1993. (Czech)/(English)
• Jiří Valoch, "Konceptuální projevy", in Dějiny českého výtvarného umění VI/2, eds. Rostislav Švácha and Marie Platovská, Prague: Academia, 2007, pp 555-573. (Czech)
• Sešit pro umění, teorii a příbuzné zóny 10 & 11 & 12, Prague: VVP AVU, 2011. Proceedings from the conference Důsledky konceptualismu [Implications of Conceptualism].
• Josef Ledvina, "České umění kolem roku 1980 jako pole kulturní produkce", Sešit pro umění, teorii a příbuzné zóny 9, Prague: VVP AVU, 2010, pp 30-65. (Czech)
• Denisa Kujelová, (Ne)možnost prezentace a distribuce umění konceptuálních tendencí v Československu 70. let, Brno: Masarykova univerzita, 2019. Master's thesis. (Czech)
• Denisa Kujelová (ed.), ČS koncept 70. let, Brno: Fait Gallery, 2021, 363 pp. Catalogue. [129] [130] [131] (Czech),(Slovak)
• Haptická ozvena. Príroda, telo, politika v umení bývalej Juhoslávie a Československa, ed. Daniel Grúň, Bratislava: Galéria mesta Bratislavy, 2024. Catalogue. Exhibition. (Slovak)

Yugoslavia

• Projekat 11-15: "Hijatusi modernizma i postmodernizma. Jedna teorijska kontraverza", ed. Dragomir Ugren, Novi Sad, Mar 2001, 639 pp. (Serbian)
• Miško Šuvaković, "Conceptual Art", in Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, eds. Dubravka Djurić and Miško Šuvaković, MIT Press, 2003, pp 210-245. (English)
• Oltari avangarde, eds. Jadran Adamović and Marina Viculin, Zagreb: Galerija Klovićevi dvori, 2008, 32 pp. Catalogue. (Croatian)
• Političke prakse (post) jugoslovenske umetnosti: retrospektiva 01, eds. Jelena Vesić and Zorana Dojić, Belgrade: Prelom kolektiv, 2010, 287 pp. Catalogue. (Serbo-Croatian)

• Marko Ilić, A Slow Burning Fire: The Rise of the New Art Practice in Yugoslavia, Cambridge: MIT Press, Feb 2021, 384 pp. Publisher. Reviews: Rounthwaite (ArtMargins), Jurich (Afterimage), Wetzler (Art in America), Smith (CAA), Drosos (Critique d'art). (English)

• Nada Beroš, Početnica za konceptualce. Nova umjetnička praksa protumačena djeci, ills. Klasja Habjan and Zita Nakić, Zagreb: Muzej suvremene umjetnosti Zagreb (MSU), 2017, 62 pp. Publisher. (Croatian)

• Haptická ozvena. Príroda, telo, politika v umení bývalej Juhoslávie a Československa, ed. Daniel Grúň, Bratislava: Galéria mesta Bratislavy, 2024. Catalogue. Exhibition. (Slovak)

Croatia

• The Misfits: Conceptualist Strategies in Croatian Contemporary Art / Neprilagodeni: konceptualističke strategije u hrvatskoj suvremonoj umjetnosti, ed. Tihomir Milovac, Zagreb: Museum of Contemporary Art, 2002, 208 pp. Exh. held at Expo Park, Moscow, 18-28 Apr 2002; Museum of Contemporary Art, Skopje, May-Jun 2002; Kunstraum Kreuzberg Bethanien, Berlin, Oct 2002. (English)/(Croatian)
• O nepoznatim radovima. On Unknown Works, ed. Branka Stipančić, Zagreb: AGM & WHW, and Dubrovnik: Art Workshop Lazareti, 2006, 56 pp. Catalogue. (Croatian)/(English)

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

Serbia

• Nova umetnost u Srbiji. Pojednici, grupe, pojave, 1970-1980, ed. Marija Pušić, Belgrade: Muzej savremene umetnosti, 1983, 140 pp. Catalogue. (Serbian)
• kuda.org (eds.), The Continuous Art Class: The Novi Sad Neo-Avant-Garde of the 1960s and 1970s, trans. Orfeas Skutelis and Nikolina Knežević, Frankfurt am Main: Revolver, 2005. (Serbian)/(English)
• kuda.org (eds.), Omitted History, trans. Nebojša Pajić, Frankfurt am Main: Revolver, 2006, 134 pp. (Serbian)/(English)
• Miško Šuvaković, "Neoavangarda, konceptualna umetnost i krize socijalističkog modernizma", Republika 430-431, 1-30 Jun 2008. (Serbian)
• Primeri nevidljive umetnosti: digitalizacija zbirke konceptualne umetnosti MSUV / Examples of Invisible Art: Digitizing Collection of Conceptual Art of MCAV, eds. Nebojša Milenković, Gordana Nikolić, and Luka Kulić, Novi Sad: Museum of Contemporary Art of Vojvodina, 2012, 167 pp. Catalogue. [132] (Serbian)/(English)
• Dragan M. Đorđević, Ideje konceptualne umetnosti u savremenoj srpskoj književnosti 1960-2010, Belgrade: Univerzitet u Beogradu, 2016, 331 pp. PhD dissertation. (Serbian)
• Branislav Jakovljević, "The Howling Wilderness of the Maladaptive Struggle in Belgrade in New York", ARTMargins 7:2, Jun 2018, pp 17-41. (English)

Slovenia

• 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)

Baltics

• 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

• Juan Vicente Aliaga, Jose Miguel G. Corez (eds.), Arte Conceptual Revisado / Conceptual Art Revisited, Valencia: Departamento de Escultura, Facultad de Bellas Artes, Universidad de Valencia, Servicio de Publicaciones, 1990, 286 pp. (Spanish)/(English)
• Mari Carmen Ramírez, "Blueprint Circuits: Conceptual Art and Politics in Latin America", in Latin American Artists of the Twentieth Century, ed. Waldo Rasmussen, New York: Museum of Modern Art, 1993, pp 156-169. (English)
• Luis Camnitzer, Conceptualism in Latin American Art: Didactics of Liberation, University of Texas Press, 2007. [136] (English)
• Cristina Freire, Ana Longoni (eds.), Conceitualismos do Sul/Sur / Conceptualismos del Sur/Sul, São Paulo: Annablume, 2009, 361 pp. Excerpt. [137] [138] (Brazilian Portuguese)/(Spanish)
• Miguel A. López, "How Do We Know What Latin American Conceptualism Looks Like?", Afterall 23 (Spring 2010). (English)
• Sistemas, acciones y procesos, 1965-1975, ed. Rodrigo Alonso, Buenos Aires: PROA, 2011, 271 pp. Catalogue; contains unpublished theoretical texts by Cristina Freire, Andrea Giunta and Rodrigo Alonso; historical documents by Mel Bochner, Lucy Lippard and John Chandler translated into Spanish for the first time, and manifestos. [139], [140]. Exhibition. (Spanish)
• Patrick Greaney, "Essentially the Same: Eduardo Costa’s Minimal Differences and Latin American Conceptualism", Art History 37:4, Sep 2014, 648-665. (English)
• Daniel R. Quiles, "Mediate Media: Buenos Aires Conceptualism", MoMA, 2015. (English)
• Graciela Carnevale, Marcelo Expósito, André Mesquita, Jaime Vindel, Desinventario: Esquirlas de "Tucumán Arde" en el Archivo de Graciela Carnevale, Ocho Libros, 2015, 310 pp. [141] [142] [143] (Spanish)

Africa

• 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)

Asia

• Peggy Wang, "Making and Remaking History: Categorising 'Conceptual Art' in Contemporary Chinese Art", Journal of Art Historiography 10 (Jun 2014). (English)

global, transversal

• Tony Godfrey, Conceptual Art, London: Phaidon, 1998, 447 pp, IA. Publisher. (English)
  • Arte conceptual, n.d., [357] pp, IA. (Spanish)

• 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)

• Michael Newman, Jon Bird (eds.), Rewriting Conceptual Art, London: Reaktion Books, 1999. (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)

• Zoë Sutherland, "The World as Gallery: Conceptualism and Global Neo-Avant-Garde", New Left Review 98 (Mar-Apr 2016). (English)

• Christian Berger (ed.), Conceptualism and Materiality: Matters of Art and Politics, Leiden: Brill, 2019. [151] (English)

• Conceptualism – Intersectional Readings, International Framings: Situating 'Black Artists & Modernism' in Europe, eds. Nick Aikens, susan pui san lok, and Sophie Orlando, Eindhoven: Van Abbemuseum, 2019, 442 pp. Based on 2017 conference. (English)

Resources

• Vivid Radical Memory, conceptual art in Hungary of the 1960s-70s, ed. Miklós Peternák & C3.
• Moscow Conceptualism, ed. Vadim Zakharov.
• Moscow Conceptualism, ed. Sergey Letov.
• Conceptual art in Documents of 20th-century Latin American and Latino Art
• In & Out of Amsterdam: Travels in Conceptual Art, 1960-1976, MoMA, 2009.
• Digitizing Ideas: Archives of Conceptual and Neo-Avantgarde Art Practices, a joint project initiated by the Museum of Contemporary Art Zagreb, which involves the Museum of Contemporary Visual Arts from Vojvodina, Modern Gallery in Ljubljana, and Museum of Modern Art in Warsaw.
• Forgotten Heritage, 8,000 works of selected artists of the Polish, Croatian, Estonian, Belgian and French postwar avant-gardes. Launched 2018.

See also

• Arte Povera
• Conceptual writing

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