 On a strict historical reading, the expression ‘conceptual art’ refers to the artistic movement that reached its pinnacle between 1966 and 1972 (Lippard  1973).[1]  Among its most famous adherents at its early stage we find artists such as Joseph Kosuth, Robert Morris, Joseph Beuys, Adrian Piper, to name but a few. What unites the conceptual art of this period is the absorption of the lessons learnt from other twentieth-century art movements such as Dadaism, Surrealism, Suprematism, Abstract Expressionism and the Fluxus group, together with the ambition once and for all to ‘free’ art of the Modernist paradigm. Most importantly, perhaps, conceptual art of the 1960s and 70s sought to overcome a backdrop against which art’s principal aim is to produce something beautiful or aesthetically pleasing. Art, early conceptual artists held, is redundant if it does not make us think. In their belief that most artistic institutions were not conducive to reflection but merely promoted a conservative and even consumerist conception of art and artists, conceptual artists in the mid-1960s to the early 1970s instead tried to encourage a revisionary understanding of art, the artist, and artistic experience.