Originally published at The Atlantic

Let’s catalog a few important moments in the history of conceptual art:

In 1917, Marcel Duchamp signed and dated a porcelain urinal, installed it on a plinth, and entered it into the first exhibition for the Society of Independent Artists.

In 1961, Robert Rauchenberg submitted a telegram reading “This is a portrait of Iris Clert if I say so” as his contribution to an exhibition of portraits hosted at Clert’s eponymous Paris gallery.

That same year, Piero Manzoni exhibited tin cans labeled “Artist’s Shit.” The cans purportedly contained the feces of the artist, but opening them to verify the claim would destroy the work.

In 2007, Damien Hirst commissioned a diamond-encrusted, platinum cast of a human skull. It cost £14 million to produce, and Hirst attempted to sell it for £50 million—mostly so that it would become the most valuable work sold by a living artist.

And in 2017, Nigel Gifford designed an edible, unmanned drone meant to deliver humanitarian aid to disaster zones.

Okay, I lied. The last one is a technology start-up. But it might as well be a work of conceptual art. In fact, it makes one wonder if there’s still any difference between the two.

Continue reading at The Atlantic

published March 17, 2017