The deep, spiritual meanings that constitute the existence of art, sometimes defining it and sometimes revealed by it, have always shown a tendency to make sense out of the concepts that form the thought which are also the object of it, even by destroying these meanings. After the 1960's, a great change / transformation was experienced in plastic arts and its environment. This change / transformation has been so effective in the art environment that it cannot be underestimated, for as an innovative approach it transformed art both in content and form. This great transformation can be expressed as the decrease in art's interest in the object. In other words, the decrease in interest undoubtedly results in a decrease in the need of the object for art. In this context, conceptual art has come to a point sanctifying thought that are overwhelmed with words. For art, the important thing is not the object but the thought. Previously, the work, which gained existence by prioritizing aesthetic concerns, changed with the innovations that aesthetics added to philosophical concepts and made this innovation felt in all stages of Modernism. In the article, the structure of the relationship between the concepts defined with the art content and the art object has been investigated in terms of the problem of meaning in conceptual art. The cause-effect relationship of the work with meaning has been attempted to be examined in the aesthetic-meaning and thought relationship with a view to modernist and postmodernist perceptions of art.
Keywords: Concept, Contemporary, Art, Modern, Postmodern, Meaning