'conceptual museum' is correct and usable in written English.
You can use it when referring to a museum which displays artworks that express ideas or create a concept rather than physical art. For example, "The conceptual museum featured interactive pieces that asked visitors to consider the meaning of life."
"I think of this place as a conceptual museum, a museum of ideas," she said.
But Copia is a new invention entirely -- a "conceptual museum," in the words of its director, Peggy A. Loar, that aims to be a sort of Museum of Modern Art for eaters and drinkers.
The House of Terror Museum (+374 2600) is a conceptual museum in an old secret police centre, which displays the depredations of Hungarian fascism and communism in a manner more art installation than artefact collection.
From the experimental films of the Lebanese architect Bernard Khoury to the photographs of Emily Jacir, a Palestinian conceptual artist, the museum's rotating exhibitions are the most unusual, adventurous, intellectually challenging and envelope-pushing that you'll find in Beirut.
But, in fact, the piece is in synch with the process-oriented, post-minimalist, conceptual bent of the museum's program — a found-object cousin of Smithson's non-sites, the American landscape transmogrified indoors.
Aldrich Museum This boutique museum on the Westchester-Fairfield county border is presenting "Shahzia Sikander: Nemesis," an exhibition of recent animations, drawings and a site-specific installation by the Pakistan-born, New York-based Conceptual artist.
OPEN ALL NIGHT Also at the Whitney, Michael Asher, the 66-year-old Los Angeles Conceptual artist, has won the museum's Bucksbaum Award.
With a mad scientist's intensity, Mr. Höller, a German-born artist, turned the museum into a conceptual carnival with installations equal parts kiddie ride and torture chamber.
To honor the completion of the Guggenheim's three-year restoration and the project's biggest benefactor, the Cleveland philanthropist Peter B. Lewis, the museum commissioned the conceptual artist Jenny Holzer to create the site-specific illuminations.
In "Tate Modern: The Handbook," Iwona Blazwick and Frances Morris, who developed the conceptual framework for the new museum's displays, note that Barr's chart "came to dominate most modernist collections around the world," and that it "is still used to delineate art into periods and movements".
Writing in Art & Antiques, the staunchly reactionary Hilton Kramer used the Baldessari show as an opportunity to condemn the whole conceptual movement for "distracting galleries, museums, classrooms, and the media with an absence of talent, an avalanche of pretension, and an abundance of hot air".
