1. Charles Harrison, Essays on Art & Language (Cambridge, MA: mit Press,
2001), 127. Harrison’s first book on Art & Language, which he coauthored with Fred
Orton, A Provisional History of Art & Language (Paris: Galerie Eric Fabre, 1982), has
been supplemented by two more comprehensive volumes: the aforementioned Har-
rison, Essays on Art & Language, and a companion volume, Charles Harrison, Con-
ceptual Art and Painting: Further Essays on Art & Language (Cambridge, MA: mit
Press, 2001). In addition to texts too numerous to list scattered throughout other
books, exhibition catalogs, magazines, and journals, a volume of interviews Harrison
gave late in his life includes yet another comprehensive account. See Charles Har-
rison, Looking Back (London: Ridinghouse, 2011).
2. On Art & Language’s New York section, see Michael Corris, “Inside a New
York Art Gang: Selected Documents of Art & Language, New York,” in Concep-
tual Art: A Critical Anthology, eds. Alexander Alberro and Blake Stimson (Cam-
bridge, MA: mit Press, 1999), 60–71; Michael Corris, “The Dialogical Imagina-
tion: The Conversational Aesthetic of Conceptual Art,” in Neo- Avant- Garde, ed.
David Hopkins (Amsterdam: Rodopi, 2006), 301–310; Alexander Alberro, “One
Year under the Mast: Alexander Alberro on The Fox,” Artforum, Summer 2003, 162–
164, 206; Christopher Gilbert, “Art & Language, New York, Discusses Its Social Re-
lations in ‘The Lumpen- Headache,’” in Conceptual Art: Theory, Myth, and Practice,
ed. Michael Corris (Cambridge: Cambridge University Press, 2004), 326–341; Chris
Gilbert, “Art & Language and the Institutional Form in Anglo- American Collectiv-
ism,” in Collectivism after Modernism: The Art of Social Imagination after 1945, eds.
Blake Stimson and Gregory Sholette (Minneapolis: University of Minnesota Press,
2007), 77–93; and Alan W. Moore, Art Gangs: Protest and Counterculture in New
York City (Brooklyn: Autonomedia, 2011), 65–79. Favoring Art & Language’s Eng-
lish section, Harrison treats the collective’s transatlantic relations most extensively
in Harrison, Essays on Art & Language, 82–128. Throughout this small body of lit-
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