Notable examples Robert Rauschenberg, Portrait of Iris Clert 1961 Barbara Kruger installation detail at Melbourne 260px|Olaf Nicolai, Memorial for the Victims of Nazi Military Justice, Ballhausplatz in Vienna 1917 : Fountain by Marcel Duchamp, described in an article in The Independent as the invention of conceptual art. 1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it. 1955 : Rhea Sue Sanders creates her first text pieces of the series pièces de complices, combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988 1956 : Isidore Isou introduces the concept of infinitesimal art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics). 1957: Yves Klein, Aerostatic Sculpture (Paris), composed of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Blue Epoch exhibition. Klein also exhibited One Minute Fire Painting, which was a blue panel into which 16 firecrackers were set. For his next major exhibition, The Void in 1958, Klein declared that his paintings were now invisible - and to prove it he exhibited an empty room. 1958: Wolf Vostell Das Theater ist auf der Straße/The theater is on the street. The first Happening in Europe. 1960: Yves Klein's action called A Leap Into The Void, in which he attempts to fly by leaping out of a window. He stated: "The painter has only to create one masterpiece, himself, constantly." 1960: The artist Stanley Brouwn declares that all the shoe shops in Amsterdam constitute an exhibition of his work. 1961: Wolf Vostell Cityrama, in Cologne - the first Happening in Germany. 1961: Robert Rauschenberg sent a telegram to the Galerie Iris Clert which read: 'This is a portrait of Iris Clert if I say so.' as his contribution to an exhibition of portraits. 1961: Piero Manzoni exhibited Artist's Shit, tins purportedly containing his own feces (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). Marcel Broodthaers and Primo Levi are amongst the designated "artworks". 1962: Artist Barrie Bates rebrands himself as Billy Apple, erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by third parties. 1962: Christo's Iron Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was not the barricade itself but the resulting traffic jam. 1962: Yves Klein presents Immaterial Pictorial Sensitivity in various ceremonies on the banks of the Seine. He offers to sell his own "pictorial sensitivity" (whatever that was - he did not define it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.) 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork. 1962: Alberto Greco began his Vivo Dito or Live Art series, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attention to the art in everyday life, thereby asserting that art was actually a process of looking and seeing. 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with , George Maciunas, Wolf Vostell, Nam June Paik and others.Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, . 1963: George Brecht's collection of Event-Scores, Water Yam, is published as the first Fluxkit by George Maciunas. 1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others. 1963: Henry Flynt's article Concept Art is published in An Anthology of Chance Operations; a collection of artworks and concepts by artists and musicians that was published by Jackson Mac Low and La Monte Young (ed.). An Anthology of Chance Operations documented the development of Dick Higgins  vision of intermedia art in the context of the ideas of John Cage  and became an early Fluxus masterpiece. Flynt's "concept art" devolved from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics. 1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings . An example of Heuristic art, or a series of instructions for how to obtain an aesthetic experience. 1965: Art & Language founder Michael Baldwin  Mirror Piece. Instead of paintings, the work is showing a variable number of mirrors that challenge both the visitor and Clement Greenberg  theory. 1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest against the values of Clement Greenberg's Art and Culture, much praised and taught at Saint Martin's School of Art in London, where Latham taught part-time. Pages of Greenberg's book (borrowed from the college library) are chewed by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his part-time position. 1965: with Show V, immaterial sculpture the Dutch artist Marinus Boezem introduced Conceptual Art in the Netherlands. In the show  various air doors are placed where people can walk through them. People have the sensory experience of warmth, air. Three invisible air doors, which arise as currents of cold and warm are blown into the room, are indicated in the space with bundles of arrows and lines. The articulation of the space which arises is the result of invisible processes which influence the conduct of persons in that space, and who are included in the system as co-performers. Joseph Kosuth dates the concept of One and Three Chairs in the year 1965. The presentation of the work consists of a chair, its photo and a blow up of a definition of the word "chair ".Kosuth has chosen the definition from a dictionary. Four versions with different definitions are known. 1966: Conceived in 1966 The Air Conditioning Show of Art & Language is published as an article in 1967 in the November issue of Arts Magazine. 1966: N.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibited Bagged Place the contents of a four-room apartment wrapped in plastic bags. The same year they registered as a corporation and subsequently organized their practice along corporate models, one of the first international examples of the "aesthetic of administration ". 1967: Mel Ramsden  first 100\% Abstract Paintings. The painting shows a list of chemical components that constitute the substance of the painting. 1967: Sol LeWitt's Paragraphs on Conceptual Art were published by the American art journal Artforum. The Paragraphs mark the progression from Minimal to Conceptual Art. 1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language. 1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent ", one of the most important conceptual art statements following LeWitt's "Paragraphs on Conceptual Art." The declaration, which underscores his subsequent practice  reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership." Friedrich Heubach launches the magazine Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. It originally showed a Fluxus influence, but later moved toward Conceptual art. 1969: The first generation of New York alternative exhibition spaces are established, including Billy Apple's APPLE, Robert Newman's Gain Ground, where Vito Acconci produced many important early works, and 112 Greene Street. 1969: Robert Barry's Telepathic Piece at Simon Fraser University, Vancouver, of which he said ' During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image '. 1969: The first issue of Art-Language  The Journal of conceptual art is published in May . It is subtitled as The Journal of conceptual art and edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Language are the editors of this first number, and by the second number and until 1972, Joseph Kosuth will join and become the American editor . 1969: Vito Acconci creates Following Piece, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented as photographs. The English journal Studio International published Joseph Kosuth´s article "Art after Philosophy" in three parts (October–December). It became the most discussed article on "Conceptual Art" . 1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Language. 1970: Painter John Baldessari exhibits a film in which he sets a series of erudite statements by Sol LeWitt on the subject of conceptual art to popular tunes like "Camptown Races" and "Some Enchanted Evening". 1970: Douglas Huebler exhibits a series of photographs which were taken every two minutes whilst driving along a road for 24 minutes. 1970: Douglas Huebler asks museum visitors to write down 'one authentic secret'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading as most secrets are similar. 1971: Hans Haacke's Real Time Social System. This piece of systems art detailed the real estate holdings of the third largest landowners in New York City. The properties were mostly in Harlem and the Lower East Side, were decrepit and poorly maintained, and represented the largest concentration of real estate in those areas under the control of a single group. The captions gave various financial details about the buildings, including recent sales between companies owned or controlled by the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the work constituted "an alien substance that had entered the art museum organism". There is no evidence to suggest that the trustees of the Guggenheim were linked financially to the family which was the subject of the work. 1972: The Art & Language Institute exhibits Index 01 at the Documenta 5, an installation indexing text-works by Art & Language and text-works from Art-Language. 1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his work: Aquinocabeelarte (Art does not fit here), where each of the letters is a separate poster, and under each letter is written the name of some victim of state repression. 1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their own works of art. General Idea launch File magazine in Toronto. The magazine functioned as something of an extended, collaborative artwork. 1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for the nature to create art. 1974: Cadillac Ranch near Amarillo, Texas. 1975–76: Three issues of the journal The Fox were published by Art & Language in New York by . The editor was Joseph Kosuth. The Fox became an important platform for the American members of Art & Language. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of contemporary art. These articles exemplify the development of an institutional critique within the inner circle of Conceptual Art . The criticism of the art world integrates social, political and economic reasons. 1975-77 Orshi Drozdik's Individual Mythology performance, photography and offsetprint series and her theory of ImageBank in Budapest. 1976: facing internal problems, members of Art & Language separate. The destiny of the name Art & Language remaining in Michael Baldwin, Mel Ramsden and Charles Harrison hands. 1977: Walter De Maria's Vertical Earth Kilometer in Kassel, Germany. This was a one kilometer brass rod which was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer's mind. 1982: The opera Victorine by Art & Language was to be performed in the city of Kassel for documenta 7 and shown alongside Art & Language Studio at 3 Wesley Place Painted by Actors, but the performance was cancelled. 1986: Art & Language are nominated for the Turner Prize. 1989: Christopher Williams' Angola to Vietnam is first exhibited. The work consists of a series of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen according to a list of the thirty-six countries in which political disappearances were known to have taken place during the year 1985. 1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of ”third generation Conceptual artists” at the Whitney Museum of American Art. 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery.Smith, Roberta. "Art in review: Ronald Jones Metro Pictures", The New York Times, 27 December 1991. Retrieved 8 July 2008. 1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine. 1992: Maurizio Bolognini starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would see. %DIFDELCMD < %DIFDELCMD < %%% 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called Tournez manège (The Dating Game) where the female presenter asked him who he was, to which he replied: 'A multimedia artist'. Laurette had sent out invitations to an art audience to view the show on TV from their home , turning his staging of the artist into a performed reality. 1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to the display of her diary of food. 1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers. 2001: Martin Creed wins the Turner Prize for Work No. 227: The lights going on and off, an empty room in which the lights go on and off. 2004: Andrea Fraser's video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Be Fun, a 27-page transcript of an interview with a collector in which the majority of the text has been deleted. 2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again. 2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin. 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Military Justice on Vienna's Ballhausplatz after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet Ian Hamilton Finlay (1924–2006) with just two words: all alone.
Notable examples Robert Rauschenberg, Portrait of Iris Clert 1961 Barbara Kruger installation detail at Melbourne 260px|Olaf Nicolai, Memorial for the Victims of Nazi Military Justice, Ballhausplatz in Vienna 1917 : Fountain by Marcel Duchamp, described in an article in The Independent as the invention of conceptual art. 1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it. 1955 : Rhea Sue Sanders creates her first text pieces of the series pièces de complices, combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988 1956 : Isidore Isou introduces the concept of infinitesimal art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics). 1957: Yves Klein, Aerostatic Sculpture (Paris), composed of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Blue Epoch exhibition. Klein also exhibited One Minute Fire Painting, which was a blue panel into which 16 firecrackers were set. For his next major exhibition, The Void in 1958, Klein declared that his paintings were now invisible - and to prove it he exhibited an empty room. 1958: Wolf Vostell Das Theater ist auf der Straße/The theater is on the street. The first Happening in Europe. 1960: Yves Klein's action called A Leap Into The Void, in which he attempts to fly by leaping out of a window. He stated: "The painter has only to create one masterpiece, himself, constantly." 1960: The artist Stanley Brouwn declares that all the shoe shops in Amsterdam constitute an exhibition of his work. 1961: Wolf Vostell Cityrama, in Cologne - the first Happening in Germany. 1961: Robert Rauschenberg sent a telegram to the Galerie Iris Clert which read: 'This is a portrait of Iris Clert if I say so.' as his contribution to an exhibition of portraits. 1961: Piero Manzoni exhibited Artist's Shit, tins purportedly containing his own feces (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). Marcel Broodthaers and Primo Levi are amongst the designated "artworks". 1962: Artist Barrie Bates rebrands himself as Billy Apple, erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by third parties. 1962: Christo's Iron Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was not the barricade itself but the resulting traffic jam. 1962: Yves Klein presents Immaterial Pictorial Sensitivity in various ceremonies on the banks of the Seine. He offers to sell his own "pictorial sensitivity" (whatever that was - he did not define it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.) 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork. 1962: Alberto Greco began his Vivo Dito or Live Art series, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attention to the art in everyday life, thereby asserting that art was actually a process of looking and seeing. 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with George Maciunas, Wolf Vostell, Nam June Paik and others.Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, . 1963: George Brecht's collection of Event-Scores, Water Yam, is published as the first Fluxkit by George Maciunas. 1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others. 1963: Henry Flynt's article Concept Art is published in An Anthology of Chance Operations; a collection of artworks and concepts by artists and musicians that was published by Jackson Mac Low and La Monte Young (ed.). An Anthology of Chance Operations documented the development of Dick Higgins ’s vision of intermedia art in the context of the ideas of John Cage , and became an early Fluxus masterpiece. Flynt's "concept art" devolved from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics. 1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings , an example of heuristic art, or a series of instructions for how to obtain an aesthetic experience. 1965: Art & Language founder Michael Baldwin ’s Mirror Piece. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and Clement Greenberg ’s theory. 1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest against the values of Clement Greenberg's Art and Culture, much praised and taught at Saint Martin's School of Art in London, where Latham taught part-time. Pages of Greenberg's book (borrowed from the college library) are chewed by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his part-time position. 1965: with Show V, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual art in the Netherlands. In the show , various air doors are placed where people can walk through them. People have the sensory experience of warmth, air. Three invisible air doors, which arise as currents of cold and warm are blown into the room, are indicated in the space with bundles of arrows and lines. The articulation of the space that arises is the result of invisible processes which influence the conduct of persons in that space, and who are included in the system as co-performers. Joseph Kosuth dates the concept of One and Three Chairs to the year 1965. The presentation of the work consists of a chair, its photo , and an enlargement of a definition of the word "chair ." Kosuth chose the definition from a dictionary. Four versions with different definitions are known. 1966: Conceived in 1966 The Air Conditioning Show of Art & Language is published as an article in 1967 in the November issue of Arts Magazine. 1966: N.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Place, the contents of a four-room apartment wrapped in plastic bags. The same year they registered as a corporation and subsequently organized their practice along corporate models, one of the first international examples of the "aesthetic of administration ." 1967: Mel Ramsden ’s first 100\% Abstract Paintings. The painting shows a list of chemical components that constitutes the substance of the painting. 1967: Sol LeWitt's Paragraphs on Conceptual Art were published by the American art journal Artforum. The Paragraphs mark the progression from Minimal to Conceptual Art. 1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language. 1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent ," one of the most important conceptual art statements following LeWitt's "Paragraphs on Conceptual Art." The declaration, which underscores his subsequent practice , reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership." Friedrich Heubach launches the magazine Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. It originally showed a Fluxus influence, but later moved toward conceptual art. 1969: The first generation of New York alternative exhibition spaces are established, including Billy Apple's APPLE, Robert Newman's Gain Ground, where Vito Acconci produced many important early works, and 112 Greene Street. 1969: Robert Barry's Telepathic Piece at Simon Fraser University, Vancouver, of which he said " During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image ." 1969: The first issue of Art-Language : The Journal of conceptual art is published in May , edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Language are the editors of this first number, and by the second number Joseph Kosuth joins and serves as American editor until 1972. 1969: Vito Acconci creates Following Piece, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented as photographs. The English journal Studio International publishes Joseph Kosuth´s article "Art after Philosophy" in three parts (October–December). It became the most discussed article on conceptual art . 1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Language. 1970: Painter John Baldessari exhibits a film in which he sets a series of erudite statements by Sol LeWitt on the subject of conceptual art to popular tunes like "Camptown Races" and "Some Enchanted Evening". 1970: Douglas Huebler exhibits a series of photographs taken every two minutes while driving along a road for 24 minutes. 1970: Douglas Huebler asks museum visitors to write down 'one authentic secret'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading as most secrets are similar. 1971: Hans Haacke's Real Time Social System. This piece of systems art detailed the real estate holdings of the third largest landowners in New York City. The properties , mostly in Harlem and the Lower East Side, were decrepit and poorly maintained, and represented the largest concentration of real estate in those areas under the control of a single group. The captions gave various financial details about the buildings, including recent sales between companies owned or controlled by the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the work constituted "an alien substance that had entered the art museum organism". There is no evidence to suggest that the trustees of the Guggenheim were linked financially to the family which was the subject of the work. 1972: The Art & Language Institute exhibits Index 01 at the Documenta 5, an installation indexing text-works by Art & Language and text-works from Art-Language. 1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his work: Aquinocabeelarte (Art does not fit here), where each of the letters is a separate poster, and under each letter is written the name of some victim of state repression. 1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their own works of art. General Idea launch File magazine in Toronto. The magazine functioned as something of an extended, collaborative artwork. 1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for nature to create art. 1974: Cadillac Ranch near Amarillo, Texas. 1975–76: Three issues of the journal The Fox were published by Art & Language in New York . The editor was Joseph Kosuth. The Fox became an important platform for the American members of Art & Language. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of contemporary art. These articles exemplify the development of an institutional critique within the inner circle of conceptual art . The criticism of the art world integrates social, political and economic reasons. 1975-77 Orshi Drozdik's Individual Mythology performance, photography and offsetprint series and her theory of ImageBank in Budapest. 1976: facing internal problems, members of Art & Language separate. The destiny of the name Art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands. 1977: Walter De Maria's Vertical Earth Kilometer in Kassel, Germany. This was a one kilometer brass rod which was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer's mind. 1982: The opera Victorine by Art & Language was to be performed in the city of Kassel for documenta 7 and shown alongside Art & Language Studio at 3 Wesley Place Painted by Actors, but the performance was cancelled. 1986: Art & Language are nominated for the Turner Prize. 1989: Christopher Williams' Angola to Vietnam is first exhibited. The work consists of a series of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen according to a list of the thirty-six countries in which political disappearances were known to have taken place during the year 1985. 1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of ”third generation Conceptual artists” at the Whitney Museum of American Art. 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery.Smith, Roberta. "Art in review: Ronald Jones Metro Pictures", The New York Times, 27 December 1991. Retrieved 8 July 2008. 1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine. 1992: Maurizio Bolognini starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would see. %DIFDELCMD < %DIFDELCMD < %%% 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called Tournez manège (The Dating Game) where the female presenter asked him who he was, to which he replied: 'A multimedia artist'. Laurette had sent out invitations to an art audience to view the show on TV from their homes , turning his staging of the artist into a performed reality. 1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to the display of her diary of food. 1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers. 2001: Martin Creed wins the Turner Prize for Work No. 227: The lights going on and off, an empty room in which the lights go on and off. 2004: Andrea Fraser's video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Be Fun, a 27-page transcript of an interview with a collector in which the majority of the text has been deleted. 2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again. 2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin. 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Military Justice on Vienna's Ballhausplatz after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet Ian Hamilton Finlay (1924–2006) with just two words: all alone.
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