Carl Andre, 75 Small Wood Square Scatter, 2009. 75 wood tiles, .6 x 3.3 x 3.3 cm. each. From “The Xerox Book.”

“The Xerox Box”

New York

Paula Cooper Gallery

Conceptual art, which came into being during the mid-1960s in the cold-water flats and raw-space warehouses that spread through Lower Manhattan, was anything but an elitist movement. Instead, it was a phenomenon largely based on the notion than art could exist in pursuit of ideas rather than preconceived object-forms laden with academic entitlement (which it later became). The conceptual aspects of the work evolved at a time when casual materials—like Xerox pages—were either secondary or integral, often integrating time or temporality as part of the idea. Some artists, such as Lawrence Weiner and Robert Barry, came to conceptual art from abstract painting; Douglas Huebler, Robert Morris, Carl Andre, and Sol LeWitt came from sculpture; Victor Burgin, Ian Burn, Joseph Kosuth, and Adrian Piper from philosophy; Ian and Ingrid Baxter, Dan Graham, and Dara Birnbaum from photography; and others, including Ed Ruscha and John Baldessari, came from popular culture. …see the entire review in the print version of June’s Sculpture magazine.