Keith Arnatt, Invisible Hole Revealed by the Shadow of the Artist, 1968, gelatin silver print, 24 × 29 3/4". From “Conceptual Art in Britain: 1964–1979.” © Artists Rights Society (ARS) New York, NY/DACS, London.


“Conceptual Art In Britain: 1964–1979”

Tate Britain
April 12–August 29

Curated by Andrew Wilson with Carmen Juliá and Isabella Maidment

There was a time during the 1970s when a number of American artists sought to align themselves with the distinctly British variant of Conceptual art. These were the days of Art & Language in New York, a congregation that ballooned to several dozen members before dissolving in some acrimony—after which British Conceptualism dropped into something of a memory hole, even in the home country. “Conceptual Art in Britain” will provide an opportunity to relive this moment with hundreds of archival documents and seventy-odd works by uncompromising British practitioners like Michael Baldwin and Terry Atkinson, whose version of a participatory ethos asked viewers to match their own engagement across a stringent philosophical curriculum. By way of leavening that rigor, the warmth and wit of no less cerebral artists—such as Michael Craig-Martin and Keith Arnatt—will provide the complementary dimension of a vital time in art, much in need of recollection.