When someone walks into an art gallery, they believe they are going to see art, but under the guise of institutional criticism, this notion is often false. Instead of being confronted with the traditional art of painting, sculpture and installations, viewers encounter, in the work of Hans Haacke, Daniel Buren and Michael Asher in the 1970s, not much to look at, but lots to think about. In essence, institutional critique is a protest against museums/galleries asking them to view art and art exhibitions in a new way, exemplified by conceptual art where words, video, ready-mades and even ideas are art. Institutional criticism emerged from the protests of the 1960s, in which the philosopher Michel Foucault participated in Paris in 1968. Obviously, institutional criticism took its raison d'être from these protests and imported them into gallery space, but these protests continue today in the Occupy movements, highlighting the lasting impact and influence of institutional critique. Some key elements of institutional critique are site specificity, its lack of commodification, WHAT ELSE. To better understand institutional criticism, it is necessary to analyze the early works of this methodology through the works of Hans Haacke, Daniel Buren and Michael Asher, but all other works use the methodology to analyze different aspects of the artistic institution , but these uses of institutional critique consistently display the main aspect of the methodology: protest. After all, conceptual art is an avant-garde movement that is essentially a protest against traditional art forms. The addition of Michel Foucault's "A Reading of Power/Knowledge" to the speech will further highlight aspects of institutional critique, but will also show its current relevance to the Occ...... middle of article. ..... it is important It is worth noting the historical factors of the 1960s, which are chronologically more relevant in 1970, when Asher created this work, than in 1973, when Buren exhibited his work at the John Weber Gallery. Foucault says his term, genealogy, is the synthesis of scientific knowledge and local memories that create historical knowledge of struggles. For the artists of the Institutional Critique of the 1970s, this historical struggle would have been that of the demonstrations of the 1960s, perhaps even that of the students and artists of Paris in 1968. Thanks to this knowledge of past struggles, people can use this information in the future, a bit like Haacke. , Buren and Asher who use the idea of ​​protest in their work. Protesting something unjust is precisely what institutional critique does, and Asher's architectural intervention illustrates this perfectly, as do the works of Buren and Haacke.. (82%)