 The most fundamentally revisionary feature of conceptual art is the way in which it proclaims itself to be an art of the mind rather than the senses: it rejects traditional artistic media because it locates the artwork at the level of ideas rather than that of objects. Because more weight tends to given to creative process than physical material, and because art should be about intellectual inquiry and reflection rather than beauty and aesthetic pleasure (as traditionally conceived), the identity of the work of art is said to lie in the idea at the heart of the piece in question. In the words of Kosuth, ‘[t]he actual works of art are ideas’ (Lippard 1973, 25). For conceptual art, ‘the idea or concept is the most important aspect of the work’ (LeWitt 1967, 166). Art is ‘de-materialised’, and in this sense held to be prior to its materialisation in any given object.