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Em meados dos anos 60, a arte conceitual surge como uma tendência que se caracteriza por utilizar uma série de práticas e métodos inovadores no mundo das artes. Preocupados com o conceito por trás da produção artística, e não com o objeto de arte em si, os artistas encontraram na linguagem verbal o instrumento para as produções mais características do movimento. Ironicamente, muitos produziram obras sem a intenção de ressaltar a importância da palavra, mas de silenciá-la. O silêncio dessas obras conceituais é produzido em torno do branco da página, da obliteração da linguagem, e do gesto. Corroborando o pensamento de Susan Sontag, em A estética do silêncio, o silêncio foi utilizado pelos artistas como uma forma de transformação da arte, uma relutância em se comunicar dentro dos padrões. O objetivo desta pesquisa é apresentar um breve catálogo de obras conceituais silenciadas/silenciosas. A partir de um interesse em explorar as estratégias de silenciamento, a pesquisa apresenta análises propondo uma leitura do que a princípio parece ilegível. Para direcionar essa leitura, a análise toma como base os livros Reading the illegible e No medium, do escritor e poeta americano Craig Dworkin. Os poemas/obras conceituais são analisados considerando elementos passíveis de leitura, o que Dworkin chama de substrato, e amparados por obras literárias, de maneira que se perceba neles uma poética com atributos análogos aos que compõem uma obra literária. In the mid-60s, conceptual art appears as a tendency recognized for using a series of innovative practices and methods in the art world. Concerned with the concept beneath artistic productions, instead of the object of art in itself, the artists found in language the instrument for the most representative productions of the movement. Ironically, many artists did not intend to highlight the importance of words, but to silence them. The silence in these conceptual art works is created around the blank page, the obliteration of language and the gestures. Drawing upon Susan Sontags thoughts, in A estética do silêncio, silence was used by artists as a means to transform art, a reluctance to communicate within the standards. The aim of this research is to present a brief catalogue of silenced/silent conceptual art works. Starting from an interest in exploring the strategies through which these works were silenced, the research presents a reading of what could at first be considered illegible. To direct this reading, the analysis is based on books such as Reading the illegible and No medium, by the American writer and poet Craig Dworkin. The conceptual poems/works are analyzed considering elements that allow reading, which Dworkin calls substrate, supported by other literary pieces, so that it is possible to notice in them a poetics with attributes analogous to those that characterize a literary work.

In the 60s and 70s, Conceptual Art emerged as ground-breaking tendency when making of verbal language one of its most sigfnificant instruments of creation. Taken off the intimacy of paper, words were put in evidence shaking artistic categories with works that stood between images and letters. In an environment of de-mythification of the imagetic value, Conceptual Art appeared in an impetus to disfigure the solid tenets of Fine Arts by proposing a textual turn and showing both the material presence of language and its inconsistencies as source of meanings. Conceptual written artworks suspended the stricteness of the sign turning their texts into obscure and enigmatic even if making use of very simple statements.Written artworks were brought into the field of literature to be approached under literary and semiotc theories. Conceptual Art literature bears a thoughtful contribution on narrative, authorship and reception. Artists often refused the taxonomy of poets, for their literature was to promote new readings ahead of artistic demarcations. The presence of words emphasized the opacity of language in two ways: in both its plastic, solid characteristics and the amplitude textts could reach. Language in Conceptual Art also contributed to the questioning of the long-lasting art object; it suggested a less alienated social function of art and artists, and it turned viewers/readers into active participants in the reading of art.Thus, language became a revolutionary tool in Conceptualism having an important effect in the to come.