If we admit that Sol LeWitt is right and that the idea is dominant in Conceptual Art, and the material and technique of execution are only accompanying factors illustrating this idea, one must also agree that the Art of Conceptual Symbolism is the most consistent development of this theory. The images and concepts used in the art objects of Conceptual Symbolism are intended to explain one or another concept of the author, largely based on the personal experience and personal feelings of the artist. In a sense, art is conceptually always, and the ears of the author's point of view in one form or another always look out from the bushes of prettiness, but in true conceptual art, according to Joseph Kosuth, there are no prettiness. This is one of the main contradictions of the genre, as beautifulness has a pronounced attractive effect for the public, but, at the same time, distract viewers from an adequate perception of the idea. Another contradiction of conceptual art is the extreme complexity of the physical unification of processes that take place in a certain time period in a single object.
This inconsistency, to a large extent, is deprived of Conceptual Symbolism, as an artistic trend. And that is the most important, the images and symbols used in similar art objects are not in themselves artificial images generated by the artist's fantasy, but they have a stable associative array, and their interpretation depends to a much greater extent on the viewer's mentality , his aesthetic and social position. It was Conceptual Symbolism that managed to unite Time and Space in its art-objects, using symbols and signs not subject to time for the spatial image. Naturally, Conceptual Symbolism or New Symbolism, as Vitaly Komar called it, is a post-conceptual direction of art and, if desired, one can put many questions to its authors. However, today just in the art objects of this trend that one can see a worthy embodiment of many ideas of Conceptualism.