contributions: AA Bronson, Anonymus*, Inaki Bonillas, Mel Bochner, Marcel Broodthaers*, Heath Bunting, Alice Creischer, Brad Downey, Kenneth Goldsmith, Ellen Harvey, Burkhard Holdorff, Douglas Huebler*, Deborah Kelly, Sol LeWitt*, nature*, Akim Nguyen, Edgar Orlaineta, Grisha Perelman*, Michalis Pichler, Peter Piller, Adrian Piper, Johannes Raether, Allen Ruppersberg, Stefan Schuster, Andreas Siekmann, Evgenia Tsalagrada, Xerox*, Haegue Yang, Adam Zaretsky * “found” material A conceptual collection of xeroxes of drawings, notices and other material of artists and other people, put together by Michalis Pichler The title is a paraphrase of Mel Bochners landmark project from 1966 as organized with the SVA, which nowadays is considered the first exhibition of conceptual art. The last two words 'art imprimé, Chatou, ISBN 2-912483-57-3, --- Eine konzeptuelle Sammlung an Fotokopien von Zeichnungen, Notizen und anderem Bildmaterial von (nicht nur aber in erster Linie:) Kuenstlern, zusammengestellt von Michalis Pichler. Idee und Titel des Buches sind eine Paraphrase eines 1966 von Mel Bochner realisierten Projektes, das heute gemeinhin als erste Ausstellung konzeptueller Kunst angesehen wird.

In 1969 Seth Siegelaub organized an exhibition (and publication) with the title January 5 – 31, 1969, one of the first exhibition projects of conceptual art, with the participation of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner. Back then there was already talking about a so-called "linguistic turn" that had been taken place in the visual arts and in consequence let to idea art. Nevertheless one could hardly deny, that those artistic/poetic strategies are being reused and radicalised around the turn of the millennium and recently. January 5 – 31, 2012 is gathering some of these positions, presenting Craig Dworkin, Kenneth Goldsmith Jonathan Monk and Michalis Pichler.