A Participatory Conceptual Artwork Created by the Participants of the 100 Year Ed Tech Project
When the concept of a work of art originates from one person, but its creation is executed by others, who then is considered the artist?
In my years studying art history, this question related to the form referred to as “conceptual art” has simmered beneath the surface of my thoughts. If someone directs me to create a work of art, who is the artist? The director or the doer? Moreover, is it not a person at all, but rather the idea itself that is the artwork? In this age of AI, the analog and digital forms of conceptual art are converging in polarizing ways, with the gamut of perspectives on AI-assisted artwork ranging from loathing and disgust to inspiration and passion for the possibilities on the horizon.
Created as a collaborative activity for educators participating in a storytelling-focused, learning futures planning event called the 100 Year Ed Tech Project, “Confluence of Commands” (2025) looks at the intersection of artistry and ideation, shifting personas and roles between humans and AI in a modern take on participatory art.
To better understand the evolution of this work, we must first take a look at the origins of conceptual art, and specifically through the lens of its creator, Sol LeWitt.
Sol LeWitt and the Origins of Conceptual Art
Is the physical act of making something essential for a work to be recognized as legitimate art? Or can the mere conception of an idea fulfill the role of artistic creation?
The history of collaborative and participatory art has been deeply influenced by postmodernist and conceptual artists, with Sol LeWitt being a pivotal figure. LeWitt, an American artist born in 1928, is credited with founding both the Conceptual Art and Minimalism movements, though he disclaimed strict ties to these labels. His influence on participatory art is most notably seen through his “Wall Drawings” series. These works were unique in that LeWitt provided a set of instructions for others to execute, thus decentralizing the role of the artist as the sole creator and instead emphasizing the concept or idea behind the work as the primary element of art.
Sol LeWitt’s approach was radical for its time, as it challenged traditional notions of artistic ownership and the permanence of art. His wall drawings were intended to be temporary and were often erased after exhibition, underscoring the ephemerality of art and the primacy of artistic concepts over their physical manifestations. This participatory model democratized the art-making process, allowing others—often people without formal artistic training—to engage directly in the creation of the artwork. This method not only blurred the lines between artist and executor but also invited viewers to engage with the conceptual underpinnings of the art directly.
LeWitt’s emphasis on instructions as a form of art opened up new avenues for artistic expression and set the stage for future explorations in participatory and collaborative art practices. His work laid foundational concepts that have influenced a wide range of contemporary art practices, extending into digital and installation art, where the viewer’s experience often completes the piece.
The cultural significance of LeWitt’s work remains profound, as it continues to inspire new generations of artists who see the viewer and participatory engagement as integral components of the artistic process. His legacy is evident in the way art is conceptualized, produced, and interacted with today, emphasizing that the ‘idea becomes a machine that makes the art’—a notion that continues to resonate within the art community.
Participatory Art in the Age of AI
Continuing from the collaborative and conceptual practices initiated by Sol LeWitt, the advent of generative AI in the arts, particularly through tools like OpenAI’s DALL-E and Leonardo AI, represents a modern extension of his foundational ideas. In LeWitt’s work, the artist provided a set of instructions which were then interpreted and executed by others, thus separating the conception of the artwork from its physical creation. Similarly, when using generative AI tools, the human acts as the instructor, inputting prompts that the AI then interprets to create visual art. This interaction mirrors LeWitt’s process but adapts it for the digital age.
In this model, the human’s role shifts from traditional artist to conceptual initiator, crafting prompts that guide the AI in generating artworks. This process emphasizes the importance of the idea or concept, much like LeWitt’s emphasis on the plan or instruction over the manual execution of the art. The AI, akin to LeWitt’s human assistants, becomes the executor, transforming abstract concepts into tangible artworks. However, unlike human assistants who might bring personal interpretation to the execution, AI tools operate within the constraints and capabilities defined by their programming and the data they have been trained on.
This collaboration between human and machine in the artistic process challenges traditional notions of authorship and creativity. Just as LeWitt’s approach raised questions about the artist’s hand in the creation of art, so too does the use of AI in art raise questions about the role of the artist and the nature of creativity when machines can participate in the creative process. The AI does not simply execute tasks but interprets the prompts in ways that can be unpredictable and innovative, adding another layer of complexity to the relationship between creator and creation.
Thus, the use of generative AI tools for creating art is not merely a technological advancement but a continuation of the conceptual art movement’s exploration of the boundaries of art and the role of the artist. It represents a further democratization of art-making, making it accessible to those without traditional artistic skills but who can engage conceptually and creatively with AI to produce art. This not only expands the scope of who can be involved in art-making but also deepens the conversation about the essence and origin of creativity and artistic expression.
Confluence of Commands: An Interplay of Human and Digital Collaboration
The artwork that participants of the 100 Year Ed Tech Project will contribute to, named Confluence of Commands (2025), is a creative exploration of the evolving dynamics between analog and digital processes in art-making, inspired by the conceptual art practices of Sol LeWitt. In this innovative look at roles in the creation of art, participants are invited to engage in a unique collaborative art project where the boundaries between human creativity and artificial intelligence are blurred, reimagined, and celebrated.
In this activity, the AI assumes the persona of Sol LeWitt instead of the human, generating instructions in the style of LeWitt’s famous directive artworks. These prompts are then interpreted by the participants, who will draw directly onto a communal canvas. This process not only pays homage to LeWitt’s legacy but also remixes it by integrating AI as a digital actor, thus bridging the gap between traditional and contemporary methods of creation. The participants’ freedom to draw anywhere on the canvas ensures that each contribution remains distinct yet becomes an integral part of the whole.
Once the collective artwork is complete, it will be segmented into individual pieces and matted, allowing each participant to take home a fragment of the shared experience. This method of distribution echoes the democratic ethos of LeWitt’s work, where the concept and participation are valued over the sanctity of the original object. It also symbolizes the personal and communal achievements of the gathering, encapsulating the essence of collaborative creation.
The philosophical underpinning of this activity is a reflection on how AI is reshaping our engagement with creative processes and collaborative work. The finished artwork serves as a metaphor for the way in which digital tools like AI can enhance human interaction and creativity. It highlights the potential for AI to be both a tool and a collaborator, expanding the scope of what can be achieved when diverse minds and machines work together.
Furthermore, the activity underscores a critical reflection on the nature of artistic authorship and the meaning of creativity in the digital age. It poses important questions about the role of AI in the creative process and its implications for the future of art. By melding analog and digital methodologies, the event not only fosters a space for creative exploration but also prompts a deeper dialogue on the integration of technology in artistic expression.
Confluence of Commands (2025), therefore, is not just an artistic endeavor but a commemorative artifact of collective input and creativity at a time when the intersections between technology and human effort are more pertinent than ever. It celebrates the contributions of each participant, acknowledging that every individual brings something unique to the table, which, when combined with the capabilities of AI, can lead to the creation of something truly remarkable and transformative.
Further Reading
On Wednesday, March 19, 2025, educators participating in the 100 Year Ed Tech Project were invited to collaboratively create the artwork by following a set of instructions drafted by AI. Learn more about this activity, or remix and run a version of it for yourself by exploring the post below.
Additionally, we invite you to explore the following websites that have helped to inform the creation of this work through a reflection on the evolution of conceptual art in the age of AI.
- Sol LeWitt’s Concepts and Structures (National Gallery of Art)
- Sol LeWitt: A Wall Drawing Retrospective (Mass MoCA)
- Drawing with Instructions (SF MOMA)
- Drawing Sol LeWitt’s Wall Drawing 1180 (Medium: Dennis Hambeukers)
- Drawing Instructions (Whitney Museum of American Art)
- Sol LeWitt’s Instruction for Wondrous Walls (Improvised Life)
- The Conceptual Art Game (Blick Art)
- Having ChatGPT Interpret Sol LeWitt Instructions (Amy Goodchild)
_____
Image at Top: Inter/play VI (Before Lights Out). Feb 28, 2025. Digital painting made by Angela Gunder with AI tool MockoFun and Adobe Illustrator.