from the 1960s
Dates overlap and vary by place; they are not strict boundaries.
Movement
A movement, period and school are different kinds of historical grouping.
Associations are checked against museum records rather than assigned from dates alone.
Why it emerged
In the 1960s and 1970s, artists questioned whether an artwork had to be a unique, skilfully made object. Instructions, language, photographs and documents could carry a work’s central proposition. Related international practices challenged how museums and markets defined value, although conceptual works could still be collected and sold.
Key artists and contributions
Joseph Kosuth
Compared objects, images and definitions to examine how art produces meaning.
Sol LeWitt
Made systems and instructions central, allowing others to realise a work.
John Baldessari
Used text and photographic imagery to question conventions of painting and interpretation.
What changed afterwards
Its methods remain central to installation, institutional critique and many socially engaged practices. The lasting shift was not the disappearance of materials, but greater attention to the relationships among idea, execution, context and audience.
Sources and further reading
Original educational overview, informed by the resources below. Artist examples are selective; they are not a complete membership list.
Representative works at the museum
These are museum reference entries. Follow the links to view the works; images are not reproduced here. These entries are not included in the comparison timeline.
One and Three Chairs
Joseph Kosuth · 1965
The Museum of Modern Art
View at museum ↗What Is Painting
John Baldessari · 1966–68
The Museum of Modern Art
View at museum ↗Movement and school labels are interpretive tools. Individual works can cross boundaries, and an artist’s entire career is not assigned to a single movement.