The conceptual art group Art & Language was originally established in Great Britain in 1967 by Terry Atkinson and Michael Baldwin. With expanding international membership and recognition for its publication Art-Language, as well as the relocation of several members to New York, the group established a New York section in 1971 called Art & Language New York.
The papers of the Art & Language New York group were assembled by Michael Corris, an artist, writer and key group member. Art & Language New York’s participating members also included Karl Beveridge, Kathy Bigelow, Jill Breakstone, Ian Burn, Sarah Charlesworth, Carole Condé, Paula Eck, Mel Ramsden, Preston Heller, Joseph Kosuth, Christine Kozlov, Nigel Lendon, Andrew Menard, Terry Smith, and Mayo Thompson. The New York group thrived from the early 1970’s to its dissolution in 1977. During that time however it was entrenched in conflict with the United Kingdom Art & Language. Art & Language New York created its own journal called The Fox hoping to generate more exposure than Art-Language. Through critical dialog The Fox meant to clarify artistic relationships between ideologies and institutions to explicate the significant differences between the social and political conditions of New York and that of the English Midlands. Art & Language New York group also participated in exhibitions, lectures, and was devoted to political activities. The group made significant contributions to other organizations such as Artists Meeting for Cultural Change, Anti-Imperialist Cultural Union, and the founding of the magazine/collective, Red-Herring. Art & Language New York challenged the assumption that art is necessarily visual by questioning ideas of perception and the institutional stake of museums and the art market. Thus, the work of Art & Language New York contributed to the shaping of the practice and theorization of the conceptual art movement, which was particularly manifested in the divergence between Art & Language New York and Art & Language United Kingdom.