Conceptual Art: A Critical Anthology - uncopy

introduction
editors of art-language
This editorial is not intended to serve as a thorough compendium of the activity within the
field of conceptual art; if it was, it would possess lamentable shortcomings. Neither does it
presume to represent conceptual artists in the U.S.A., nor many of those in Britain. There are
three contributions from American artists in this issue; it is hoped that contributions from
American artists will be maintained and increased and it is also an aim of this magazine to
furnish a comprehensive report of conceptual art in the U.S.A. in one of the future issues this
year. The essay below is specifically directed toward indicating the development of a number
of artists in Britain who have worked in this field for the past two years. The formation of this
magazine is part of that development and the work discussed in this essay is the work of the
founders of this magazine. The essay will point out some differences, in an indirect way, between
American and British conceptual art, but it should not be seen to indicate a clear and
definite boundary between them; there are British artists working in this field who show more
affinity with American conceptual art than with what is, here, called British conceptual art.
The editor-founders of this magazine have, for example, maintained close contact over the past
year and a half with Sol LeWitt and Dan Graham. Their position is not at all seen by them to
be one of isolation.