Art is a human creative ability, which is demonstrated by means of imaginative designs, sounds, or concepts. With a view to emphasize these terms, they cut back the fabric presence of the work to an absolute minimal – a bent that some have known as the dematerialization of art – which is without doubt one of the essential traits of conceptual art.

The American art historian Edward A. Shanken points to the instance of Roy Ascott who “powerfully demonstrates the significant intersections between conceptual art and artwork-and-technology, exploding the conventional autonomy of these art-historical classes.” Ascott, the British artist most intently associated with cybernetic art in England, was not included in Cybernetic Serendipity as a result of his use of cybernetics was primarily conceptual and did not explicitly utilize expertise.

Though using text in artwork was nothing new by the 1960s – text seems alongside other visible parts in Cubist work, for instance – artists equivalent to Lawrence Weiner, Joseph Kosuth, Ed Ruscha, and John Baldessari adopted textual content as the chief aspect of a visible work of art.

Today, Kosuth’s artworks will be present in numerous famend museums and galleries around the globe, including MoMa, London’s Freud Museum, Chicago Artwork Institute, Hirshhorn Museum and Sculpture Garden in Washington, D.C. Kosuth lives and works between New York and Rome, the place he teaches on the Instituto Universitario di Architettura di Venezia.

Sol LeWitt and Joseph Kosuth had been among the many first ones to insist that real art is just not a singular or priceless physical object created by the bodily talent of the artist – like a drawing, painting or sculpture – but as an alternative an idea or an concept.