概念艺术(conceptual art)
所有赋予艺术作品的观念比完成的成品更重要的各种艺术形式。杜象从1910年前後就开始探索此一理论，但这个名词到1950年代晚期才由金霍兹所发明。在1960年代和1970年代，概念艺术成为国际间的主要潮流；倡导的先锋是李维特（Sol LeWitt, 1928～）和柯舒斯（Joseph Kosuth, 1945～）。拥护它的人激进地重新界定艺术的对象、材料与技巧，并且开始质疑艺术本身的存在与功用。概念艺术的主张是，「真正」的艺术作品不是艺术家为了展览与出售而创作的物质实体，艺术品其实是由「概念」或「观念」所构成。典型的概念艺术作品是涵盖照片、文字、地图、图表和图文的结合，艺术家审慎地将视觉上无趣或细琐的事物加以转化，将注意力导向他们所表达的「观念」。概念艺术的呈现向来极度纷歧；有名的范例是柯舒斯的《椅子》（One and Three Chairs, 1965），这件作品结合真实的椅子、椅子的照片和一则字典中「椅子」的定义。概念艺术植根於许多20世纪後期的艺术创作。
English version：
conceptual art
Any of various art forms in which the idea for a work of art is considered more important than the finished product. The theory was explored by Marcel Duchamp from c. 1910, but the term was only coined in the late 1950s by Edward Kienholz. In the 1960s and '70s it became a major international movement; its leading exponents were Sol LeWitt (born 1928) and Joseph Kosuth (born 1945). Its adherents radically redefined art objects, materials, and techniques, and began questioning the very existence and use of art. Its claim is that the "true" work of art is not a physical object produced by the artist for exhibition or sale, but rather consists of "concepts" or "ideas". Typical conceptual works include photographs, texts, maps, graphs, and image-text combinations that are deliberately rendered visually uninteresting or trivial in order to divert attention to the "ideas" they express. Its manifestations have been extremely diverse; a well-known example is Kosuth's One and Three Chairs (1965), which combines a real chair, a photograph of a chair, and a dictionary definition of "chair". Conceptual art was fundamental to much of the art produced in the late 20th century.
