 At the most basic level of inquiry, two queries arise about interpretation in art: (i) what ‘tools’ do we use to interpret artworks?, and (ii) what is it we do when we interpret artworks? In the case of conceptual art, a satisfactory answer to (i) will most probably appeal to elements such as the narrative aids provided by artists or curators (e.g. catalogues, titles, exhibited explanations, labels, etc.); the appropriate mode of perception (i.e. looking or listening); and what we know about the artwork’s and artist’s social, historical, political or artistic context. Depending on the ontological status of the particular piece (if it is, say, a ready-made or a performance), these elements can be combined in different ways to explain our interpretative habits and practices.