Conceptual art is an avant-garde art form that began in the mid-1960s and was stimulated by Marcel Duchamp's DADA movement and the Minimalist movement. It focuses more specifically on the concept behind the artwork rather than the aesthetics and physical product, while embodying the idea that art can exist as an idea even with the absence of a physical object to represent the his concept. It initially came about when artists pushed the limits of minimalism and questioned the subsequent reduction to art: it wouldn't be art at all, or, as it turned out, art that exists as an idea. Duchamp's idea was that the artistic process and emotional output were much more important than the final product, influenced the development of conceptual art, and allowed artists to document their works as input to the final result. Since conceptual art is rarely connected to an object, it is associated with the recognition of human actions and their effects, responses and consequences. Through in-depth study of Robert Smithson's "Spiral Jetty", George Segal's "Walk, Don't Walk", and Kenneth Dewey's "Museum Piece", they reveal the ideas of Duchamp's DADA art in their respective forms of conceptual art. Conceptual art emerged in the 1960s, where the term was initially used by Henry Flynt, a musician and anti-art activist. However his initial use of the term "Concept Art" referred to his philosophy of the vulnerabilities of logic and mathematics. Soon after, the term was implemented by the Art and Language group, headed by the artist Joseph Kossuth. The group believed that conceptual art was composed when the exploration of the idea of ​​art succeeded the object itself. Furthermore, it was a reaction against formalism; a study of art comparing style and form... middle of paper..., and adopted the ideas of Duchamp and his concept of art existing as an idea. Furthermore, conceptual art incorporated many of Duchamp's techniques used in DADA art, including fantasy, audience experience, absurdity, and irrationality. Marcel Duchamp is significant to the emergence of conceptual art as it was his ideas that manifested into a new and radical art movement. Through Duchamp's embrace of irrationality, chance, and play, his approach to art demonstrated that the conceptual side of a work of art was far more important than the physical product and even more important to the public. After the minimalist movement, it was his ideas that promoted and supported the artists of the time in adopting a new artistic movement. It is for this reason that society recognized Marcel Duchamp as a major influence on the development of conceptual art.