The names of the authors of these texts are given only where they are not published under the collective name Art & Language

[17] « L’Art abstrait » (trans. C. Schlatter), Art-Language 1975-78, Éditions É. Fabre, 1978, pp. 31-45 (pp. 35-36).

[17a] Ibid., pp. 31-45.

[63a-1] ‘Art Language and Art-Language’, Art-Language, Vol. 2, No. 2, Summer, 1972, pp. 21-28.

[70] Steve Edwards, ‘Art & Language’s Doubt’ in Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 249-255 (p. 254).

[70a] Ibid., pp. 249-255.

[60] ‘Guide to Exhibition’, Art & Language in Practice, Fundació Antoni Tàpies, Barcelona, 1999.

[2] Art & Language in Practice, Vol. 1, Fundació Antoni Tàpies, Barcelona, 1999, pp. 12-285 (pp. 267-268).

[2a] Ibid., pp. 13-14, 75-76, 81-83.

[4] Ibid., p. 144.

[8] Ibid., pp. 107-108.

[12] Ibid., pp. 91-92.

[15] Ibid., p. 271.

[23] Ibid., p. 115.

[23a] Ibid., pp. 115-117.

[27] Ibid., p. 278.

[49] Ibid., p. 166.

[49a] Ibid., pp. 166-168.

[50] Ibid., p. 217.

[50a-1] Ibid., pp. 217-218.

[12a] ‘Art & Language Paints a Picture’, first published in Gewad Informatief, Ghent, March, 1993.

[39a-2] ‘Art & Language Paints a Picture V’, in ‘Art & Language: Now They Are’ catalogue, Galerie Grita Insam, Vienna, 1992, p. 14.

[48] « Art & Language peint une peinture VI » in Art & Language: Now They Are catalogue, Labor/Isy Brachot, 1992, pp. 57-70 (p. 57).

[48a] Ibid., pp. 57-70.

[9a] ‘Art for Society?’ Art-Language, Vol. 4 No. 4, June, 1980, pp. 1-23.

[20] ‘Artist’s Language 1’, Art-Language, New Series No. 3, September, 1999, pp. 36-46 (p. 32).

[20a] Ibid., pp .36-46.

[61] Ibid., p. 39.

[7a] ‘Artist’s Language 2’, Art-Language, New Series No. 3, September, 1999, pp. 36-46 (pp. 47-56).

[21] Ibid., p. 47.

[10a] ‘Artist’s Writing’, Art-Language, New Series No. 3, September, 1999, pp. 16-35.

[56] ‘BANK presents Art & Language’, leaflet/press release, Galerie Poo Poo, London, 1998.

[66] ‘BLAHY’, Everything Magazine, London, Issue 3, 3, 2000, pp. 48-52 (p. 48).

[66a] Ibid., pp. 48-52.

[57] ‘Brainstorming-New York’, Art-Language, Vol. 3, No. 2, May, 1975, pp. 31-40.

[64a] ‘Bxal’, Art-Language, Vol. 2 No. 4, June, 1974, pp. 87-125.

[29a] ‘Concept and Experiment in Britain?’, Modern Painters, Summer, 2000.

[11] Art & Language : La Conférence du Jeu de Paume, Flammarion 4/Galerie de Paris, 1996, pp. 8-76 (pp. 13-15).

[11a] Ibid., pp. 8-76.

[36] ‘Conversations, Pet’s Homes, Decorations and Ornaments’, Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 225-248 (p. 239).

[7] Cinco essayos, information leaflet, Galeria Juana de Aizpuru, Madrid, 1999, pp. 1-2.

[26] David Batchelor and Art & Language, « Un Entretien au studio au sujet de la peinture », Hostages XXV-LXXVI, Lisson Gallery, Galerie de Paris, Marian Goodman Gallery, 1990, pp. 9-31 (p. 9).

[26a] Ibid., pp. 9-31.

[35] ‘Extracts from some Notes’ (sic) 1967, reproduced in Land Art, Phaidon, 1997.

[35a-1]Ibid., ms.

[13a] Philip Pilkington, ‘Fake Experience and Talking’ Art-Language New Series No. 3, September, 1999, pp. 11-15.

[35a-2] Facsimile transmission by Art & Language, February, 2001.

[15a] Christian Schlatter « Fragment pour Art & Language » in Hostages XXV-LXXVI, Lisson Gallery, Galerie de Paris, Marian Goodman Gallery, 1990, pp. 35-42.

[44] Frameworks-Air-Conditioning, Art & Language Press, Coventry, 1967, reprinted in Maenz and De Vries (eds.) Art & Language: Texte zum Phanomen Kunst und Sprache, Dumont Schauberg, Cologne, 1972, pp. 18-47 (p. 32).

[44a] Ibid., pp. 18-32.

[46] Ibid., p. 38.

[46a] Ibid., pp. 32-47.

[63a-2] Ibid., pp. 18-20.

[64] Ibid., p. 42.

[69] ‘Guaranteed Painting’ in Art & Language: Conceptual Art from 1965 to 1974 (catalogue), Mulier Mulier Gallery, Belgium, 1997.

[24] Art & Language and the Red Crayola, ‘Hedges’ (Lyric of Song) LP/CD from Black Snakes, London Publishing House Limited/Slezak Music, 1983 and Drag City, Inc., 1997.

[18] Charles Harrison, Hostages booklet, Lisson Gallery, 1988, pp. 1-10 (p. 1).

[18a] Ibid., pp. 1-10.

[31] ‘Hostages a, b, g, d’ in Art & Language, Twenty Works from 1965-1999 Regarded by an Index (Landscape with St. George) 2000-2001, Regarded by twenty works from 1965-1999, Biennale Leuven, 2001.

[3a] Michel Baudson. « Incidents au musée », Art Press, No 114, May, 1987, pp. 10-15.

[62a-2] ‘The Indexes’, in The New Art (catalogue) Hayward Gallery, London, August, 1972, pp. 17-19.

[60a] Charles Harrison, ‘Indexes and Other Figures’ in Essays on Art & Language, Oxford, 1991, pp. 63-81.

[30] ‘Interview with Art & Language’ in Aliaga and Cortes (eds.) Arte Conceptual Revisado/Conceptual Art Revisited, Universidad Politecnica de Valencia, 1990, pp. 175-187 (pp. 175-176).

[30a] Ibid., pp. 175-187.

[56a] ‘Is This What You Mean?’ in Get Together, catalogue, Kunsthalle, Vienna, 1999, p. 94.

[67] ‘Julian Opie’s Sculpture’ in Julian Opie, (catalogue), Lisson Gallery, London, 1985, pp. 7-11 (p. 7).

[67a] Ibid., pp. 7-11.

[36a] Charles Harrison, ‘Art & Language: Landscapes and Interiors’ in Contemporary British Art, National Museum of Contemporary Art, Seoul, Korea, August, 1998, pp. 61-75.

[68] Laocoon is a Name, (ms.), 1968, pp. 1-4 (p. 1).

[68a] Ibid., ms. pp. 1-4.

[31a] Carles Guerra, ‘The Last Possessions’, Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 185-195.

[58] ‘De Legibus Naturae’, Studio International, May, 1971, pp. 26-32 (p. 28).

[58a] Ibid., pp. 26-32.

[21a] Philip Pilkington, ‘Letter on Inscrutable Objects and Local Meanings’, Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 217-224.

[65a] ‘Letter to Philip Peters’, Ms, (unpublished) 1993.

[37a] Ian Burn, Looking at Seeing and Reading, catalogue essay, University of New South Wales Gallery, Sydney, 1993.

[14] ‘Lovely Slang XIII’, Art & Language, Twenty Works from 1965-1999 Regarded by an Index (Landscape with St. George) 2000-2001, Regarded by twenty works from 1965-1999, Biennale Leuven, 2001.

[14a] ‘Making Meaningless’ Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 225-249.

[51] Ibid.,pp. 243-244.

[62] ‘Mapping and Filing’ in The New Art (catalogue), Hayward Gallery, London, August, 1972, pp. 14-16 (p. 14).

[62a-1] Ibid., pp. 14-16.

[69a] ‘On the Material Character/Physical Object Paradigm of Art’, Art-Language, Vol. 2 No. 1, February, 1972, pp. 51-55.

[4a] ‘Memories of the Medicine Show’ Art-Language New Series No. 2, June 1997, pp. 32-49 (pp. 32-39).

[32a] ‘Method 2’, Art-Language, Vol. 4, No. 2, October, 1977, pp. 10-19 (pp. 10-14).

[6] Charles Harrison, ‘The Moment of Depiction’, Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 197-216 (pp. 203-204).

[6a] Ibid., pp. 197-216.

[25] ‘Moti Memoria’, John Roberts (ed) The Impossible Document; Photography and Conceptual Art in Britain, 1966-1976., Camerawords, London, 1997, pp. 54-69 (pp. 56-57).

[25a] Ibid., pp. 54-69.

[52] Ibid., p. 56.

[71] Art & Language and The Red Crayola, ‘Notes on the Songs’, booklet published in connection with L.P. Kangaroo?, Rough Trade records, London, 1981.

[71a] Ibid., Lyrics of Songs, etc.

[39] Art & Language; Now They Are, catalogue, Galerie Grita Insam, Vienna, 1992, pp. 5-14 (pp. 5-6).

[39a-1] Ibid., pp. 5-7.

[9] ‘The Old Gourmet (transcript)’, Art-Language, Vol. 2 No. 4, June, 1974, pp. 62-70 (pp. 62-63).

[55] Ibid., p. 68.

[55a] Ibid., pp. 62-70.

[42] ‘Old Inhabitants and Therapists’ Art & Language and Luhmann, Institut fur Soziale Gegenwartsfragen, Freiburg i. Br./Kunstraum Wein (Hg.), Passagen Verlag, 1997, p. 118.

[42a] Ibid., pp. 113-181.

[10] Art & Language and The Red Crayola, ‘An Old Man’s Dream’ in Kangaroo? booklet published in connection with Kangaroo? L.P., Rough Trade Records, London, 1981.

[24a] David Batchelor, ‘Once Were Painters’, Art & Language in Practice, Vol. 2, Fundació Antoni Tàpies, Barcelona, 1999, pp. 177-183.

[40a] Charles Harrison, ‘On The Surface of Painting’, Critical Inquiry, Vol. 15, No 2, Winter 1989, pp. 292-336.

[53] ‘Painting by Mouth’, Art-Language, Vol. 5 No. 1, October, 1982, pp. 45-53 (p. 45).

[53a] Ibid., pp. 45-53.

[40] ‘Paul Signac Dreams of the Future II, 1984’, Art & Language, Twenty Works from 1965-1999 Regarded by an Index (Landscape with St. George) 2000-2001, Regarded by twenty works from 1965-1999, Biennale Leuven, 2001.

[5] ‘Pedagogical Sketchbook (AL)’, Art-Language, Vol. 3, No. 2, May, 1975, pp. 20-30 (p. 22).

[57a] Ibid., pp. 20-30.

[50a-2] « La Pensée avec images », Art-Language Vol. 1, No. 4, November, 1971, pp. 51-69.

[59] ‘Plans and Procedures’, Art-Language, Vol. 1, No. 2, February, 1970, pp. 14-21 (p. 17).

[59a] Ibid., pp. 14-21.

[43] ‘Portrait of V. I. Lenin’, Art-Language, Vol. 4, No 4, June, 1980, pp. 26-61 (p. 26).

[43a] Ibid., pp. 26-61.

[34] ‘The Ratification of Abstract Art’, Art & Language, Van Abbemuseum, Eindhoven, 1980, pp. 242-250 (pp. 242-243).

[34a] Ibid., pp. 242-250.

[63] ‘Remarks on Air-Conditioning’, Arts Magazine, New York, November, 1967.

[27a] ‘Return Journey’, Art-Language, Vol. 4, No. 1, May, 1977, pp. 5-10.

[41] ‘Roma Reason’, Radical Philosophy, September, 2001.

[1] ‘Seeing Paintings and Paintings Seeing’, Art-Language New Series No. 1, June, 1994, pp. 63-69 (p. 63).

[1a] Ibid., pp. 63-69.

[29] ‘Smugness’ (Letter to the editor), Artmonthly, September-October, 2000, p. 18.

[28] ‘Soft-Tape’, Art & Language, Van Abbemuseum, Eindhoven, 1980, pp. 17-18 (p. 18).

[28a] Ibid., pp. 17-18.

[61a] Philip Pilkington, ‘Some Darwinian Conditions of the Art & Language Indexes’, Art-Language, New Series No. 2, June, 1997, pp. 3-11.

[33] ‘The Steel Boxes’, information sheets, Galeria Juana de Aizpuru, Madrid, 1995.

[33a] Ibid., ms.

[52a] ‘A Story, a Moral and a Postscript’ in Payne (ed.) Research and the Artist, Oxford, 2000, pp. 70-78.

[47] ‘Study for Lucy Grays’, in Sighs Trapped by Liars catalogue, Mulier Mulier Gallery, Belgium, 1998.

[32] ‘Three Essays’, leaflet for exhibition at Galerie Grita Insam, Vienna, 1999 (first essay).

[19] John Roberts, ‘Three Men in a Studio’, Artmonthly, July-August, 1983, pp. 11-12 (p. 11).

[19a] Ibid., pp. 11-12.

[65] ‘A Tour of the Exhibition with the Artists’, information leaflet, Lisson Gallery, 1994, (ms) p. 7.

[13] ‘Transcription 21.5.73’, Art-Language Vol. 2 No. 4, June, 1974, pp. 84-85.

[51a] ‘Introduction’ Art & Language, Twenty Works from 1965-1999 Regarded by an Index (Landscape with St. George) 2000-2001, Regarded by twenty works from 1965-1999, Biennale Leuven, 2001.

[3] Charles Harrison, ‘Unit Cure, Unit Ground’ in Essays on Art & Language, Oxford, 1991, pp. 223-224.

[37] ‘Untitled Painting, 1965’ in Art & Language, Twenty Works from 1965-1999 Regarded by an Index (Landscape with St. George) 2000-2001, Regarded by twenty works from 1965-1999, Biennale Leuven, 2001.

[16] ‘The Utterance of Painting’, Art-Language, New Series No. 1, June, 1994, pp. 43-62 (p. 53).

[16a] Ibid., pp. 43-62.

[45] Ibid., p. 47.

[45a] ‘Three Corrected Transcripts (Transcripts 1-3)’, Ibid., pp. 30-62.

[54] ‘Victorine’, Art-Language, Vol. 5, No. 2, March, 1984, p. 47, (translation) in Art & Language, catalogue Galerie Nationale de Jeu de Paume, 1993-94, Acte III, Scene 4.

[54a] Ibid., pp. 45-53, (translation) Acte III, Scène 4 – Acte IV, Scène 1.

[5a] ‘Violins and Cows’, Art-Language, Vol. 2, No. 4, June, 1974, pp. 1-25.

[38] ‘Ways of Seeing’, Art-Language, Vol. 4, No. 3, October, 1978, p. 73.

[38a] Ibid., pp. 73-88.

[22] ‘We Aim to be Amateurs’, Art & Language and Luhmann, Institut fur Soziale Gegenwartsfragen, Freiburg i. Br./Kunstraum Wein (Hg.), Passagen Verlag, 1997, pp. 155-175 (p. 175).

[22a] Ibid., pp. 155-175.

[8a] ‘We Aimed to be Amateurs’, Art-Language, New Series No. 2, June 1997, pp. 40-49.