This text aims to compare Historical Conceptual Art and New Media Art focused on language and more specifically, the creation of prose through the use of algorithms. The comparison is carried out by analyzing two cases: Joseph Kosuth's manifesto Art After Philosophy (1969) and the piece Poetry Machine (2001) by the German writer, philosopher and media artist David Link. The valuable contributions made by Liz Kotz on the subject of Historical Conceptualism in her book Words to Be Looked at (2007) have been incorporated. At the end of the text, as a conclusion, differences, similarities and an analysis of the initial hypothesis are established: the relationship between art and the analytical proposition, constituent of historical conceptualism, is still alive in works such as Link's. There, however, the use of the analytic proposition is considered renewed by a contingency that was impossible to anticipate during the decade of the 1970s: the automation of linguistic analysis and the creation of verbal content on the Internet through the use of computer programs. This is an occurrence that involves important theoretical reassessments, in this case, stemming from the thought of Ludwig Wittgenstein, Saul Kripke (and his evaluations on the subject of the analytical proposition, necessary truths and a priori truths) and, finally, by media archaeologist Wolfgang Ernst. In the conclusion certain aspects of Link's work are analyzed as seen through some of Ernst's ideas.