 The highly individualised character of the intellectual exploration that conceptual art urges us to engage in has always been such that any attempt to pinpoint a specific common denominator other than this general vision and approach to art, art-making and society at large invariably fails to catch its very essence. The means of artistic expression, we are told, are infinite and the topics available for questioning and discussion are limitless. It belongs to the very nature of conceptual art, then, to be – like Lewis’ Cheshire cat – elusive and slippery. Conceptual artists, be it Joseph Beuys or Marina Abramovic, pursue artistic originality and representation in every possible way. For that reason, one might find oneself obliged to replace the slightly lofty cliché according to which there are as many definitions of conceptual art as there are conceptual artists, with an even more extreme version of the claim, namely, that there are as many definitions of conceptual art as there are conceptual artworks.