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Most of the artists that are now called conceptual artists came when doing "minimal" work in 67 or 68. There is the other aspect, which Nauman represents. He came out of a very Dada-oriented west coast funk and is still in a deadpan way. There's a very definite formal split between Nauman and say, Robert Barry, because Barry, Huot, Huebler, Weiner, Kosuth, all of those guys-came from a very structural basis and they ran up ag against the same dilemma that Ad Reinhardt posed with his business of the ultimate painting. They found that they could do something with painting or sculpture, but that it never went further than a certain point which Ad had already preconceived. Greenberg was always talking about being faithful to the   nature of the medium, about toughness and advance, and for a while it seemed very sensible, that business of being faithful, tho Reinhardt always seemed like the point towards which that would have to be going. And Greenberg, I think, dropped out with horror when he found out that it was going towards the so-called minimal thing instead of a lot of formal pretty color painting. Reinhardt, by doing the Black Paintings, made the                    point.  I don't think that Reinhardt and Greenberg ever had much in common but they both saw that/ each artist had to push a little further than the last artist and push as far as one could with his idea. So then it came to the point where very few can do anything in painting and "advanced" sculpture few. So the younger generation of so-called formal people, people who were influenced by Ad-Kosuth and Huebler certainly were, Barry 7 Huot  not as much, (I'm not sure about Larry Weiner)they could just take this jump into something