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assist in formatting, such as <span class="nowrap"><a class="external text" href="https://refill.toolforge.org/ng/result.php?page=Institutional_Critique&defaults=y">reFill</a> (<a href="/wiki/Wikipedia:ReFill" title="Wikipedia:ReFill">documentation</a>)</span> and <span class="nowrap"><a class="external text" href="https://citations.toolforge.org/process_page.php?edit=automated_tools&slow=1&page=Institutional_Critique">Citation bot</a> (<a href="/wiki/User:Citation_bot" title="User:Citation bot">documentation</a>)</span>.</span> <span class="date-container"><i>(<span class="date">August 2022</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p>In <a href="/wiki/Art" title="Art">art</a>, <b>institutional critique</b> is the systematic inquiry into the workings of art institutions, such as galleries and museums, and is most associated with the work of artists like <a href="/wiki/Michael_Asher_(artist)" title="Michael Asher (artist)">Michael Asher</a>, <a href="/wiki/Marcel_Broodthaers" title="Marcel Broodthaers">Marcel Broodthaers</a>, <a href="/wiki/Daniel_Buren" title="Daniel Buren">Daniel Buren</a>, <a href="/wiki/Andrea_Fraser" title="Andrea Fraser">Andrea Fraser</a>, <a href="/wiki/John_Knight_(artist)" title="John Knight (artist)">John Knight (artist)</a>, <a href="/wiki/Adrian_Piper" title="Adrian Piper">Adrian Piper</a>, <a href="/wiki/Fred_Wilson_(artist)" title="Fred Wilson (artist)">Fred Wilson</a>, and <a href="/wiki/Hans_Haacke" title="Hans Haacke">Hans Haacke</a> and the scholarship of <a href="/w/index.php?title=Alexander_Alberro&action=edit&redlink=1" class="new" title="Alexander Alberro (page does not exist)">Alexander Alberro</a>, <a href="/wiki/Benjamin_H._D._Buchloh" class="mw-redirect" title="Benjamin H. D. Buchloh">Benjamin H. D. Buchloh</a>, <a href="/w/index.php?title=Birgit_Pelzer&action=edit&redlink=1" class="new" title="Birgit Pelzer (page does not exist)">Birgit Pelzer</a>, and <a href="/w/index.php?title=Anne_Rorimer&action=edit&redlink=1" class="new" title="Anne Rorimer (page does not exist)">Anne Rorimer</a>.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>Institutional critique takes the form of temporary or nontransferable approaches to painting and sculpture, architectural alterations and interventions, and performative gestures and language intended to disrupt the otherwise transparent operations of galleries and museums and the professionals who administer them. Examples would be <a href="/wiki/Niele_Toroni" title="Niele Toroni">Niele Toroni</a> making imprints of a No. 50 brush at 30 cm intervals directly onto gallery walls as opposed to applying the same mark to paper or canvas;<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Chris Burden's <i>Exposing the Foundation of the Museum</i> (1986), in which he made an excavation in a gallery of the Museum of Contemporary Art, Los Angeles, to expose the literal concrete foundation of the building;,<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Andrea_Fraser" title="Andrea Fraser">Andrea Fraser</a> inhabiting the persona of an archetypical museum docent in the form of a live performance or video document,<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> or art group <a href="/wiki/Monochrom" title="Monochrom">monochrom</a> who sent the fictitious artist <a href="/wiki/Georg_Paul_Thomann" title="Georg Paul Thomann">Georg Paul Thomann</a> to the <a href="/wiki/S%C3%A3o_Paulo_Art_Biennial" title="São Paulo Art Biennial">São Paulo Art Biennial</a>. Assumptions about the aesthetic autonomy of painting and sculpture, the neutral context of the <a href="/wiki/White_cube_gallery" title="White cube gallery">white cube gallery</a>, and the objective delivery of information are explored as subjects of art, mapped out as discursive formations, and (re)framed within the context of the museum itself. As such, institutional critique seeks to make visible the social, political, economic, and historical underpinnings of art. Institutional critique questions the false distinction between taste and disinterested aesthetic judgement, revealing that taste is an institutionally cultivated sensibility that differs depending on the intersection of any one person's class, ethnic, sexual, or gender subject positions.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origin">Origin</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Institutional_Critique&action=edit&section=1" title="Edit section: Origin"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Institutional critique is a practice that emerged from the developments of <a href="/wiki/Minimalism" title="Minimalism">Minimalism</a> and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. <a href="/wiki/Clement_Greenberg" title="Clement Greenberg">Clement Greenberg</a> and <a href="/wiki/Michael_Fried_(art_critic)" class="mw-redirect" title="Michael Fried (art critic)">Michael Fried</a>); <a href="/wiki/Conceptual_art" title="Conceptual art">conceptual art</a> and its concerns with language, processes, and administrative society; and the critique of authorship that begins with <a href="/wiki/Roland_Barthes" title="Roland Barthes">Roland Barthes</a> and <a href="/wiki/Michel_Foucault" title="Michel Foucault">Michel Foucault</a> in the late 1960s and continues with the advent of <a href="/wiki/Appropriation_art" class="mw-redirect" title="Appropriation art">appropriation art</a> in the 1970s and its upending of long-held notions of authorship, originality, artistic production, popular culture, and identity. Institutional critique is often site-specific and is contemporaneous with the advent of artists who eschewed gallery and museum contexts altogether to build monumental earthworks in the landscape, notably <a href="/wiki/Michael_Heizer" title="Michael Heizer">Michael Heizer</a>, <a href="/wiki/Nancy_Holt" title="Nancy Holt">Nancy Holt</a>, <a href="/wiki/Walter_de_Maria" class="mw-redirect" title="Walter de Maria">Walter de Maria</a>, and <a href="/wiki/Robert_Smithson" title="Robert Smithson">Robert Smithson</a>. Institutional critique is also associated with the development of post-structuralist philosophy, <a href="/wiki/Critical_theory" title="Critical theory">critical theory</a>, <a href="/wiki/Literary_theory" title="Literary theory">literary theory</a>, <a href="/wiki/Feminism" title="Feminism">feminism</a>, gender studies, and <a href="/wiki/Critical_race_theory" title="Critical race theory">critical race theory</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Artists">Artists</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Institutional_Critique&action=edit&section=2" title="Edit section: Artists"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Artists associated with institutional critique since the 1960s include <a href="/wiki/Marcel_Broodthaers" title="Marcel Broodthaers">Marcel Broodthaers</a>, <a href="/wiki/Daniel_Buren" title="Daniel Buren">Daniel Buren</a>, <a href="/wiki/Hans_Haacke" title="Hans Haacke">Hans Haacke</a>, <a href="/wiki/Michael_Asher_(artist)" title="Michael Asher (artist)">Michael Asher</a>, <a href="/wiki/John_Knight_(artist)" title="John Knight (artist)">John Knight (artist)</a>, <a href="/wiki/Christopher_D%27Arcangelo" title="Christopher D'Arcangelo">Christopher D'Arcangelo</a>, <a href="/wiki/Robert_Smithson" title="Robert Smithson">Robert Smithson</a>, <a href="/wiki/Dan_Graham" title="Dan Graham">Dan Graham</a>, <a href="/wiki/Mierle_Laderman_Ukeles" title="Mierle Laderman Ukeles">Mierle Laderman Ukeles</a>, <a href="/wiki/Adrian_Piper" title="Adrian Piper">Adrian Piper</a>, and <a href="/wiki/Martha_Rosler" title="Martha Rosler">Martha Rosler</a>. Artists active since the 1980s include <a href="/wiki/Louise_Lawler" title="Louise Lawler">Louise Lawler</a>, <a href="/wiki/Antoni_Muntadas" title="Antoni Muntadas">Antoni Muntadas</a>, <a href="/wiki/Fred_Wilson_(artist)" title="Fred Wilson (artist)">Fred Wilson</a>, <a href="/wiki/Santiago_Sierra" title="Santiago Sierra">Santiago Sierra</a>, <a href="/wiki/Martha_Fleming" title="Martha Fleming">Martha Fleming</a> and <a href="/wiki/Lyne_Lapointe" title="Lyne Lapointe">Lyne Lapointe</a>, <a href="/wiki/Ren%C3%A9e_Green" title="Renée Green">Renée Green</a>, <a href="/wiki/Group_Material" title="Group Material">Group Material</a>, <a href="/wiki/Andrea_Fraser" title="Andrea Fraser">Andrea Fraser</a>, <a href="/wiki/Renzo_Martens" title="Renzo Martens">Renzo Martens</a>, <a href="/wiki/Fred_Forest" title="Fred Forest">Fred Forest</a>, <a href="/wiki/Christian_Philipp_M%C3%BCller" title="Christian Philipp Müller">Christian Philipp Müller</a>, and <a href="/wiki/Mark_Dion" title="Mark Dion">Mark Dion</a>. </p><p>In the early 1990s, influenced in large part by Daniel Buren, <a href="/wiki/Jacques_Tati" title="Jacques Tati">Jacques Tati</a>, <a href="/wiki/Roland_Barthes" title="Roland Barthes">Roland Barthes</a>, and the participatory sculptures of <a href="/wiki/Felix_Gonzalez-Torres" class="mw-redirect" title="Felix Gonzalez-Torres">Felix Gonzalez-Torres</a>, a loose affiliation of artists including <a href="/wiki/Liam_Gillick" title="Liam Gillick">Liam Gillick</a>, <a href="/wiki/Dominique_Gonzalez-Foerster" title="Dominique Gonzalez-Foerster">Dominique Gonzalez-Foerster</a>, <a href="/wiki/Pierre_Huyghe" title="Pierre Huyghe">Pierre Huyghe</a>, and <a href="/wiki/Rirkrit_Tiravanija" title="Rirkrit Tiravanija">Rirkrit Tiravanija</a> engaged the institution of art in a convivial manner. These artists, gathered under the rubric of <a href="/wiki/Relational_Aesthetics" class="mw-redirect" title="Relational Aesthetics">Relational Aesthetics</a> by critic <a href="/wiki/Nicolas_Bourriaud" title="Nicolas Bourriaud">Nicolas Bourriaud</a>, saw galleries and museums as sites of social interaction and the spontaneous creation of works of art characterized by their contingent temporality.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The collegial atmosphere of these open-ended situations was quite distinct from the more confrontational strategies of Buren, Haacke, <a href="/wiki/Jenny_Holzer" title="Jenny Holzer">Jenny Holzer</a>, and <a href="/wiki/Barbara_Kruger" title="Barbara Kruger">Barbara Kruger</a>.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>In recent years, <a href="/wiki/Maurizio_Cattelan" title="Maurizio Cattelan">Maurizio Cattelan</a>, <a href="/wiki/Ellen_Harvey" title="Ellen Harvey">Ellen Harvey</a>, <a href="/wiki/Matthieu_Laurette" title="Matthieu Laurette">Matthieu Laurette</a>, <a href="/wiki/Monochrom" title="Monochrom">monochrom</a>, <a href="/wiki/Tameka_Norris" title="Tameka Norris">Tameka Norris</a>, <a href="/wiki/Tino_Sehgal" title="Tino Sehgal">Tino Sehgal</a>, <a href="/wiki/Carey_Young" title="Carey Young">Carey Young</a>, and others have taken a critical eye to the art museum and its role as a public and private institution.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Criticisms">Criticisms</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Institutional_Critique&action=edit&section=3" title="Edit section: Criticisms"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>One of the criticisms of institutional critique is that it requires from its audience a familiarity with its esoteric concerns. As with much contemporary music and dance,<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> the institutional critique of art is a practice that only specialists in the field—artists, theorists, historians, and critics—are privy to. Due to its sophisticated understanding of modern art and society—and as part of a privileged discourse—art as institutional critique can often leave <a href="/wiki/Layman" class="mw-redirect" title="Layman">lay</a> viewers alienated and/or marginalized. </p><p>Another criticism of the concept is that it can be a misnomer. Artist <a href="/wiki/Andrea_Fraser" title="Andrea Fraser">Andrea Fraser</a> (in Artforum) and critic Michael Kimmelman (in The New York Times) have argued, for example, that institutional critique artists work within—and benefit from—the very same institutions they ostensibly critique.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>In his 2015 book "Der wunde Punkt", curator and art critic <a href="/w/index.php?title=Thomas_Edlinger&action=edit&redlink=1" class="new" title="Thomas Edlinger (page does not exist)">Thomas Edlinger</a> addresses some of the inherent problems of institutional critique. He specifically refers to monochrom's <a href="/wiki/Georg_Paul_Thomann#São_Paulo_Art_Biennial" title="Georg Paul Thomann">Taiwan intervention</a> as an excellent example of new and needed forms of intervention: "[It] shows an area of conflict between inclusion and exclusion, and one has to recognize that institutional critique is constantly changing and cannot know any fixed rules. Contextualization and site specificity have become key terms. Depending on the situation, it proceeds very differently and also wants very different things. Moreover, the change from criticism to affirmation is always possible and hardly predictable."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Institutional_Critique&action=edit&section=4" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://mitpress.mit.edu/books/institutional-critique"><i>Institutional Critique: An Anthology of Artists' Writings</i></a>. MIT Press. 25 September 2009. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780262013161" title="Special:BookSources/9780262013161"><bdi>9780262013161</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Institutional+Critique%3A+An+Anthology+of+Artists%27+Writings&rft.pub=MIT+Press&rft.date=2009-09-25&rft.isbn=9780262013161&rft_id=https%3A%2F%2Fmitpress.mit.edu%2Fbooks%2Finstitutional-critique&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.moca.org/exhibition/1965-1975-reconsidering-the-object-of-art">"1965-1975: Reconsidering the Object of Art"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=1965-1975%3A+Reconsidering+the+Object+of+Art&rft_id=https%3A%2F%2Fwww.moca.org%2Fexhibition%2F1965-1975-reconsidering-the-object-of-art&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.renaissancesociety.org/exhibitions/366/niele-toroni/">"Niele Toroni | Exhibitions | the Renaissance Society"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Niele+Toroni+%26%23124%3B+Exhibitions+%26%23124%3B+the+Renaissance+Society&rft_id=http%3A%2F%2Fwww.renaissancesociety.org%2Fexhibitions%2F366%2Fniele-toroni%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.moca.org/collection/work/exposing-the-foundation-of-the-museum">"Exposing the Foundation of the Museum"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Exposing+the+Foundation+of+the+Museum&rft_id=https%3A%2F%2Fwww.moca.org%2Fcollection%2Fwork%2Fexposing-the-foundation-of-the-museum&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://thewadsworth.org/threehistoriesfraser/">"Three Histories: The Wadsworth According to MATRIX 114"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Three+Histories%3A+The+Wadsworth+According+to+MATRIX+114&rft_id=https%3A%2F%2Fthewadsworth.org%2Fthreehistoriesfraser%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.jrp-ringier.com/pages/index.php?id_r=4&id_t=&id_p=7&id_b=573">"Publishing House - 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(March 2022)">bare URL PDF</span></a></i>]</sup></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.sachabaumann.com/shes-krafty-diary/2004/2/12/traffic-control-joe-scanlan-on-social-space-and-relational-a.html">"Traffic Control: Joe Scanlan on Social Space and Relational Aesthetics"</a>. 11 February 2004.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Traffic+Control%3A+Joe+Scanlan+on+Social+Space+and+Relational+Aesthetics&rft.date=2004-02-11&rft_id=http%3A%2F%2Fwww.sachabaumann.com%2Fshes-krafty-diary%2F2004%2F2%2F12%2Ftraffic-control-joe-scanlan-on-social-space-and-relational-a.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20171212031425/http://www.thingsthatfall.com/fair-use.php">"Fair Use - Joe Scanlan - Things That Fall"</a>. 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(March 2022)">bare URL PDF</span></a></i>]</sup></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external free" href="http://www.marginalutility.org/wp-content/uploads/2010/07/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf">http://www.marginalutility.org/wp-content/uploads/2010/07/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf</a> <sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Bare_URLs" title="Wikipedia:Bare URLs"><span title="A full citation of this PDF document is required to prevent link rot. (March 2022)">bare URL PDF</span></a></i>]</sup></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKimmelman2005" class="citation news cs1">Kimmelman, Michael (25 March 2005). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2005/03/25/arts/design/tall-french-visitor-takes-up-residence-in-the-guggenheim.html">"Tall French Visitor Takes up Residence in the Guggenheim"</a>. <i>The New York Times</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Tall+French+Visitor+Takes+up+Residence+in+the+Guggenheim&rft.date=2005-03-25&rft.aulast=Kimmelman&rft.aufirst=Michael&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2005%2F03%2F25%2Farts%2Fdesign%2Ftall-french-visitor-takes-up-residence-in-the-guggenheim.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEdlinger2015" class="citation book cs1">Edlinger, Thomas (2015). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=EdFmCgAAQBAJ&dq=georg+paul+thomann+das+unbehagen+an+der+kritik&pg=PT108"><i>Der wunde Punkt. Vom Unbehagen an der Kritik</i></a>. Suhrkamp. p. 26. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9783518742068" title="Special:BookSources/9783518742068"><bdi>9783518742068</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-12-22</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Der+wunde+Punkt.+Vom+Unbehagen+an+der+Kritik&rft.pages=26&rft.pub=Suhrkamp&rft.date=2015&rft.isbn=9783518742068&rft.aulast=Edlinger&rft.aufirst=Thomas&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DEdFmCgAAQBAJ%26dq%3Dgeorg%2Bpaul%2Bthomann%2Bdas%2Bunbehagen%2Ban%2Bder%2Bkritik%26pg%3DPT108&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInstitutional+Critique" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Institutional_Critique&action=edit&section=5" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Meyer, James (1993), <i>What Happened to the Institutional Critique?</i> New York: American Fine Arts, Co. and Paula Cooper Gallery. Reprinted in Peter Weibel, ed., <i>Kontext Kunst</i> (Cologne: Dumont, 1993), 239-256.</li> <li>Buchloh, Benjamin (1999), <i>Conceptual Art 1962–1969: From the Aesthetics of Administration to the Critique of Institutions," </i>October<i> 55: 105–143.</i></li> <li>Bryan-Wilson, Julia (2003), <i>A Curriculum of Institutional Critique</i>, in: Jonas Ekeberg, ed., <i>New Institutionalism</i> (Oslo: OCA/verksted), 89–109.</li> <li>Edlinger, Thomas (2015), <i>Der wunde Punkt. Vom Unbehagen an der Kritik</i> (Frankfurt: Suhrkamp, 2015).</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · 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