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Art & Language and the Institutional Form 93
Writers, Part One: Inside Information,” Artforum 12, no. 6 (March 1974): 30–35,
and “Artists as Writers, Part Two: The Realm of Language,” Artforum 12, no. 8 (April
1974): 30–35.
22. Despite his deep involvement in The Fox, Ian Burn was excluded from the
list of “editors” on the masthead of the Wrst issue. Instead he was featured as “review
consultant.” By the second issue he was featured, along with the others, as “editor.”
23. For the Ian Burn–Adrian Piper dialogue, see Burn’s article in Fox 1 (1975),
“Pricing works of Art” (53–59), and Piper’s response in Fox 2 (1975), “A Proposal
for Pricing Works of Art” (48–49). The Ian Burn and Michael Baldwin dispute was
an ongoing one that touched down in several issues of The Fox as well as in Artforum
and Art-Language. Throughout the pages of The Fox, Joseph Kosuth and Sarah
Charlesworth took the position that the group should be open-ended and moderate,
which drew criticism, especially in later issues, from Mel Ramsden and Mayo
Thompson.
24. The role of ideology in this dispute is treated in my essay “Art & Language,
New York, Discusses Its Social Relations in ‘The Lumpen-Headache,’” in Conceptual
Art: Theory, Myth, and Practice, ed. Michael Corris (Cambridge: Cambridge University
Press, 2004).
25. Gregory Sholette, “News from Nowhere: Activist Art and After, a Report
from New York City,” Third Text 45 (Winter 1998–99): 45–62.
26. Benjamin H. D. Buchloh, “Conceptual Art, 1962–1969: From the Aesthetic
of Administration to the Critique of Institutions,” October 55 (Winter 1990): 143.
27. Ibid., 140.
28. Alan Wallach, “Reading the Anti-Catalog: Radical Art History and the
Decline of the Left,” paper read at College Art Association meeting, Toronto, February
26, 1999.
29. Mel Ramsden, interview with the author, September 25, 2000.
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