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Whenever someone enters an art gallery, they believe they are going to view artwork, but under the guise of Critique, this idea often untrue. Rather than being the conventional art of painting, sculptures, and installations, audiences experience, at the work of Hans Haacke, Daniel Buren, and Michael Asher in the 1970s, not much to check at, but a lot to think about. In nature, Institutional Critique is a protest against museums/galleries demanding them to view art and artwork exhibition in new ways, exemplified by Conceptual artwork where phrases, movie, readymades, as well as ideas are artwork. Institutional Critique manifested in the protests of the 1960s, among which philosopher Michel Foucault participated in Paris, 1968. Certainly, Institutional Critique gathered its raison d’être from these protests and imported them to the gallery area, but these protests continue today in the Occupy moves, highlighting Institutional Critique's lasting impression and sway. Some key components of Institutional Critique are site-specificity, its own lack of commodification, WHAT ELSE. To understand Institutional Critique better, it's necessary to examine the ancient works within this methodology through the works of Hans Haacke, Daniel Buren, and Michael Asher, but all other these works use the methodology to analyze different aspects of the art institution, but these uses of Institutional Critique cohesively display the principal aspect of the methodology: protest. After all, Conceptual artwork is an avant-garde movement that in essence is a demonstration against mainstream art types. Adding Michel Foucault's "A Lecture from Power/Knowledge" to the discourse will further underline the aspects of Institutional Critique, but also exhibit its existing relevancy into the Occ...