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" ... Bring both types of thinkers to the table. It’s a lot easier for conceptualists and experimentalists to work with their own kind, says Galenson. But it’s not always best for the organization: “Conceptual and experimental people don’t get along with each other but when they’re fighting each other, that’s the most productive thing.” ... "
" ... Given that the exhibition site was in a field far outside of Tokyo, Matsuzawa was undoubtedly shrewd to place minimal physical demands on participants. But Independent '64 in the Wilderness was more than just a logistical workaround for an ambitious provincial artist. Even before Western conceptualists such as Sol LeWitt started dematerializing artwork by providing rules for instantiation by others, Matsuzawa revealed that art required only a common point of focus. In essence, art is a relationship between people, objects merely serving as opportune props. ... "
" ... Soul City (Pyramid of Oranges) was first created by Roelof Louw in 1967. In many respects, the work is emblematic of its era, a period between 1964 and 1979 when British art went conceptual. Exhibited together with works by fellow conceptualists including Keith Arnatt and Richard Long, Louw's reconstituted pyramid helps to situate museum visitors in a time where dematerialization was the predominant means of artistic expression. ... "