Acknowledgements

Preface
Nora Burnett Abrams

"I, too, wondered…": An Introduction to Writing After Conceptual Art"
Andrea Andersson

"The Conceptualist Turn: Wittgenstein and the New Writing"
Marjorie Perloff

"Fate of Echo"
Craig Dworkin

"Was Ist Los"
Seth Price

"Echo"
Vanessa Place

"Sharon Hayes and Most People"
Rachel Haidu

"What Do We Mean By Performance Writing?"
Caroline Bergvall

"Rescuing the Past: Repetition and Reenactment in Jeremy Deller, Andrea Geyer, and Sharon Hayes"
Patrick Greaney

From "Notes on Conceptualism"
Robert Fitterman and Vanessa Place

"The Melancholy of Conceptualism"
Michael Golston

"Untimely Models"
Lytle Shaw

"Indifferent Voices"
Paul Elliman

"A Week of Blogs for the Poetry Foundation"
Kenneth Goldsmith

"Give Them What They Want: Populist Rhetoric in Conceptual Art and Writing"
Brian Reed

To Teach and Delight – A Few Precedents for an Art of Instruction"
Cathleen Chaffee

"Semantic Analysis: The Art of Parsing Found Text"
Sarah Cook

"Conceptual Computing and Digital Writing"
Nick Monfort

"Poetry Without Poets"
Darren Wershler

Documents from "True Mirror"
David Reinfurt and Stuart Bailey

"From Distribution to Dispersion: Conceptual Writing in the Age of the Internet
Gwen Allen

"Little Bastard"
Ryan Gander with Alice Fisher and Stuart Bailey

"What Was Conceptual Writing?"
Nick Thurston

"The Bioinformatic Sublime: The Life of Data and the Data of Life in Conceptual Writing"
Paul Stephens

"Two Dots Over a Vowel"
Christian Bök

"Like In Valencia: On Translating Equivalence"
Mónica de la Torre

"Russian Lessons for Conceptual Writing"
Jacob Edmond

"Reading as Art"
Simon Morris with Thomas Campbell

"Ambivalence of the Grid"
Liz Kotz

"The Concrete, The Conceptual, and the Galáxias"
Antonio Sergio Bessa

"N.B."
Seth Kim-Cohen

"PLAGIARISM: A response to Thomas Fink"
Tan Lin

Notes

Bibliography

Index

About the Author

Andrea Andersson is The Helis Foundation Chief Curator of the Visual Arts at the Contemporary Arts Center in New Orleans.

Reviews

"Andersson’s collection is significant in so far as it is one of the first exhibitions or catalogues that begins to approach a definition of conceptual writing." - Louisa Lee (Art History)

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Table of Contents

About the Author

Reviews