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A PRE-DIGITAL MECHANISMS IN CONTEXT: 1960S / 1970S

While the set of rules and protocols explicitly or implicitly established by conceptual artists may exist on a theoretical or abstract level, hence embodying one of the key mind-sets of conceptualism,5 the use of such tools in combination with photography by conceptual artists and photographers indirectly connected with conceptualism (e.g., Hans-Peter Feldmann or the Bechers) yields a tangible visual outcome. Comparing such a visual outcome with a similar strategy not based on photography can yield interesting insights into the specificities of photo-based artworks. The comparison of a conceptual drawing emerging in that context, for example Sol LeWitt’s Four Basic Kinds of Straight Lines and Their Combination (1969, see Fig. 34), with an equivalent piece, is in that respect productive: if the drawing remains an autonomous object, a set of photographs such as the multiplication and serial evolution in LeWitt’s Brick Wall (1977, see Fig. 35)6 not only remains connected to what it represents, but it is also necessarily attached to how it represents.7 Photography had been primarily used by conceptual artists as a mechanical means of reproduction with a