In the 1960s, Conceptual artist Joseph Kosuth became renowned for his philosophical investigations into the nature of art. The Buffalo AKG collection includes a set of six panels by Kosuth called Titled (Art as Idea as Idea) from 1967-68, which each feature reproductions of the dictionary definition of the word “nothing” in a different language. In these works, art is literally “nothing”—but also a way of framing the world that has the power to transform “nothing” into “something.” Ultimately, Kosuth’s conceptual games invite us to question the nature of language itself, and even of seemingly fundamental concepts like “nothing.” For example, the dramatic variation between the Danish, English, French, German, Italian, and Spanish panels may prompt us to wonder if “nothing” is less of a universal concept than a social construction that is defined and experienced differently across cultures. Rhea Myers updates Kosuth’s Conceptual gambit for the blockchain age. Her text-based work Titled (Information as Property as Art) [Ethereum Null Address] presents what is known as the “null address” on the Ethereum blockchain. While the presentation here takes the form of a PDF that mimics the visual style of Kosuth’s works (with white text on a black background), the “work itself” is the idea of the null address and its expression in text, just as Kosuth’s work is the idea of nothing and its definition. The work therefore can be presented by the collector in other ways, such as in vinyl lettering on a wall. As Myers explains about this address, It is the empty address, the invalid address, the address that no-one can own or control. On the Ethereum blockchain it is nowhere, it is nobody’s, it is nothing. There should be nothing there. But whether by accident or by design, thousands of Ether and thousands of NFTs have been sent to the null address, from where they can never return. They may have been sent by human error. Or they may have been sent there to be “burned,” to be…