This thesis is an investigation which overturns the misconceptions of Conceptual art and its legacies in order to illuminate the movement’s contributions to subsequent art-making and aesthetics. While initially conceived to promote the “dematerialization of art,” Conceptual art instead expanded the rigid definition of art from Greenberg’s modernist aesthetics and explored new avenues of art-making. This thesis reconsiders the medium of language within the work of Conceptual artist Lawrence Weiner and the Post-Conceptual artists Judy Natal and Jung Lee as it overcomes the characteristics of dematerialization. Instead, within the theoretical model of Speculative Realism, art-objects and language can be further understood as ontological and autonomous entities that withdraw from human-access and which only relate to other objects vicariously. Art is thus able to overcome the assumption of a passive, human-dependent object and instead challenges our perception of objects and the interpretations and analyses we derive from their surface qualities.