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[12]Carl Andre, transcribed interview from 1975, cited in Meyer, Cuts, 214.
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[13]Robert Smithson,“A Museum of Language in the Vicinity of Art,”in Robert Smithson：The Collected Writings, ed., Jack Flam（Berkley：University of California Press, 1996 [1968]）80, 84.
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[14]Robert Smithson,“A Museum of Language in the Vicinity of Art,”in Robert Smithson：The Collected Writings, ed., Jack Flam（Berkley：University of California Press, 1996 [1968]）80, 84.
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[15]1967年至1969年，阿肯锡和诗人伯娜黛特•迈耶一起创作，并在杂志《0到9》上发表了许多作品。参见Gwen Allen, Artists’ Magazines：An Alternative Space for Art（Massachusetts and London：The MIT Press, 2011）。
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[16]Vito Acconci,“A Late Introduction to 0 to 9”, in 0 to 9 The Complete Magazine：1967–1969, ed., Vito Acconci and Bernadette Meyer（New York：Ugly Duckling Presse, 2006）, 8.
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[17]Vito Acconci,“Early Work：Movement Over a Page,”in Avalanche, 6（1972）, 4–5.
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[18]Osborne, Conceptual Art, 31.
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[19]Lawrence Weiner and Benjamin Buchloh in conversation, in Lawrence Weiner, ed., Alexander Alberro, Alice Zimmerman, Benjamin H. D. Buchloh and David Batchelor（London：Phaidon Press Ltd., 1998）, 20.
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[20]Liz Kotz, Words to be Looked At：Language in 1960s Art（Massachusetts and London：The MIT Press, 2007）, 51.
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[21]例如，约瑟夫•孔苏斯（Joseph Kosuth）在其文章《哲学之后的艺术》（1969）中，将杜尚的工作视为修订艺术史的关键，认为对于媒介现代主义的临界崩塌，最重要的是现成品，而不是对形式主义抽象画的发展和超越。
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[22]Anne Rorimer,“Siting the Page：Exhibiting Works in Publications：Some Examples of Conceptual Art in the USA,”in Rewriting Conceptual Art, eds., John Bird and Michael Newman（Reaktion Books Ltd., London, 1999）, 17.
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[23]例如，孔苏斯把词典文本直接发表在报纸的广告栏目或公告牌大小的街头广告上。
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[24]Anne Rorimer, New Art in the 60s and 70s：Redefining Reality（London：Thames & Hudson Ltd., 2001）, 100.
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[25]其他成员时有变化，有段时间包括孔苏斯。
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[26]Terry Atkinson, et al., introduction to Art-Language：The Journal of Conceptual Art,（Coventry：Art & Language Press, 1969）, 10.
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[27]这些“重叠语境”包括集团内的对话以及积极参与艺术教育。
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[28]Atkinson, et al., introduction to Art-Language, 3.
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[29]Atkinson, et al., introduction to Art-Language, 6-7.
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[30]Charles Harrison and Paul Wood,“Modernity and Modernism Reconsidered”in Modernism in Dispute：Art Since the Forties, eds., Paul Wood, Francis Frascina, Jonathan Harris and Charles Harrison（New Haven and London：Yale University Press, 1993）, 208.
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[31]Pamela M. Lee,“Ultramoderne：Or How George Kubler Stole the Time in Sixties Art,”in Chronophobia：On Time in the Art of the 1960s（Massachusetts and London：The MIT Press, 2004）, 218–56. 杰克·弗拉姆（Jack Flam）在史密森文集的序论中也讨论了这点：Jack Flam,“Introduction：Reading Robert Smithson,”in Robert Smithson：The Collected Writings（Berkley：University of California Press, 1996）, xv–xvii。
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[32]参见Norbert Weiner’s, The Human Use of Human Beings（1950）and George Kubler’s, The Shape of Time：Remarks on the History of Things（1962）。
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[33]艺术家赛斯•拉姆斯登在他的文章《消散》中探究了这种转向。在以下链接可以免费下载其PDF文档：www.distributedhistory.com。
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[34]Ian Burn and Mel Ramsden, Notes on Analysis。节选部分再版于Six Years：The Dematerialization of the Art Object from 1966 to 1972, ed., Lucy Lippard（Berkley：University of California Press, Ltd., 1973 [1970]）, 137。
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[35]Osborne, Conceptual Art,（2002）.
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[36]Richard Hollis, Graphic Design：A Concise History（London：Thames and Hudson, 2001）, 214.
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