The duality of human nature, displayed in the art, captures the attention of different philosophers, such as Wagner and Nietzsche (Ridley, 2007). However, Kotz’ work comprises the analysis of different art forms in the avant-garde movement Fluxus as an interaction between static and dynamic conditions of artistic representation (Kotz, 2005).
Perceptional opposition of such artistic forms as photography and performance interact in Conceptual art, complementing each other. For example, Brecht’s installation The Three Chairs became the performance of visitors’ reaction during the exhibition (Kotz, 2005). Moreover, the unity of the author, artwork and the audience is the main artistic device in Conceptual art.
The boundaries between the author and the audience, which separated the process of creation and perception, were erased by the simplicity of expression that functions as the medium between an artist and a recipient. Objects found in everyday life, nesting things in pieces of art praise the beauty of routine, drawing together creators and viewers. Linguistic representation functions as the minimalistic method as well.
According to the main specific of Conceptual art, the disputable aesthetic should not cover the informational content of work. Different kinds of performances and fine arts focus on the reconsideration of the meaning through the visual form of objects and its context, involving language as an artistic material and essential information carrier.
To sum up, such elements as the contact between an artist and the onlookers, interdependency of different kinds of art forms, available representation, and influence of the linguistic sign and internal meaning manifest the stylistic peculiarities of Conceptual art.