Key figure of the so-called conceptual art, the North American artist Dan Graham began his artistic career in the mid-1960s quite by chance. Invited by friends, he became a partner of the John Daniels, a gallery in New York very active, but short-lived. Bankrupt, he was forced to return to his parents home in New Jersey. During the train ride, Graham can saw the new city. From this experience came Homes for America, notorious photographic essay on mass tract housing of North American suburbs, which is part of a first set of works for magazines. A while later, Graham joined the Nova Scotia College of Art and Design, Halifax, starting a period in which your interest turns to video, performance and installation, interrupted by Public Space/Two Audiences, work done for the Venice Biennale in 1976 that impose the artist self-criticism. Despite its success, Graham recognizes that the installation was near of the concept of the white cube. As out of the impasse, he adopts the idea of city plan, going to propose urban interventions projects, starting in the early 80s their pavilions. Considering Graham s work, broad and diverse in its mediums, the thesis is a monograph that aims to carry out an analytical study of the practice of the artist, defined, in our view, in terms of a critical-conceptualist model.