 At least at a first glance, it may seem that conceptual art presents a stronger case for the first approach to interpretation, since the artist’s intention is all we have to go by, quite literally, in works such as Robert Barry’s simple statement entitled All the Things I Know But of which I am Not at the Moment Thinking (1969) (see, e.g., Maes 2010 and Gover 2012). Nevertheless, the question cannot be settled quite so easily, for many conceptual artists make a point of putting all the interpretative onus on the spectator. How often are we told, after all, that a specific artwork’s meaning rests entirely in our hands; that ‘it means whatever you want it to mean’?