Editing One and Three Chairs (section)

==The concept and the theory of art==
Kosuth's thematization of semantic congruities and incongruities can be seen as a reflection of the problems which the relations between concept and presentation pose. Kosuth uses the related questions, "how meanings of signs are constituted" and "how signs refer to extra-lingual phenomena" as a fundament to discuss the relation between concept and presentation. Kosuth tries to identify or equate these philosophical problems with the theory of art. Kosuth changes the art practice from hand-made originals to notations with substitutable realizations, and tries to exemplify the relevance of this change for the theory of art.

In "Art after Philosophy," Kosuth provoked a confrontation with the formal criticism of [[Clement Greenberg]] and [[Michael Fried]]. Both exposed the concept of the art work as a non-substitutable instance realized by an artist who follows no other criteria than visual ones. They defined this concept as the core of modernism. In the sixties, Greenberg's and Fried's modernist doctrine dominated the American discussions on art; meanwhile, the artists [[Allan Kaprow]], [[Dick Higgins]], Henry Flynt, [[Mel Bochner]], [[Robert Smithson]] and Joseph Kosuth wrote articles on art exemplifying a pluralistic anti- and post-modernist tendency which gained more influence at the end of the sixties. In 1968, Greenberg tried to disqualify the new tendencies as "'novelty' art": "The different mediums are exploding...when everybody is a revolutionary the revolution is over."<ref>Greenberg, Clement: [http://www.sharecom.ca/greenberg/avantgarde.html Avant Garde Attitudes], 1968. The Jon Power Lecture in Contemporary Art, 17 Mai 1968. First published in: In Memory of John Joseph Wardell Power. Power Institute of Fine Arts, University of Sydney, 1969. Republished in: Greenberg, Clement: The Collected Essays and Criticism. volume 4: Modernism with a Vengeance, 1957-1969. The University of Chicago Press, Chicago 1993, p. 292, 299.</ref> [[Sam Hunter (art historian)|Sam Hunter]] offered a more positive view in 1972: "The situation of open possibilities which confronted artists in the first years of the seventies allowed a variety of means and many fertile idea systems to coexist, reconciling through the poetic imagination apparent contradictions."<ref>Hunter, Sam: American Art of the 20th Century. New York 1972, p. 410.</ref>