Post-conceptual

Post-conceptual, Postconceptual, Post-conceptualism or Postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional aesthetic and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s. The writer eldritch Priest, specifically ties John Baldessari's piece Throwing four balls in the air to get a square (best of 36 tries) from 1973 (in which the artist attempted to do just that, photographing the results, and eventually selecting the best out of 36 tries, with 36 being the determining number as that is the standard number of shots on a roll of 35mm film) as an early example of post-conceptual art. It is now often connected to generative art and digital art production.

Post-conceptualism as an art practice has also been connected to the work of Robert C. Morgan, specifically his Turkish Bath installation at Artists Space in 1976, and in Morgan's writing in Between Modernism and Conceptual Art: A Critical Response from 1997. It has been connected to the work of Robert Smithson,Mel Bochner, Robert Barry, Yves Klein,Piero Manzoni,Manfred Mohr, Joseph Nechvatal,Lygia Clark,Roy Ascott, Allan McCollum, Harold Cohen, Mary Kelly, Annette Lemieux,Matt Mullican, and the intermedia concept employed in the mid-sixties by Fluxus artist Dick Higgins.

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