From the very beginning of the establishment of the institutional aspect of Art by the Academy, artists took a stand against it; These stances, which began in the nineteenth century with the demonstration of alternative exhibitions by Gustave Corbett and then the Impressionists, and continued in other forms by Avant-garde artists of the twentieth century, paving the way for the emergence of "Institutional Critique" critical discourse. This study shows that "Institutional Critique" was formed under the influence of the "Anti-institutional attitude" around the 1960s and succeeded to transcends the Avant-garde movements by utilization of the institutional knowledge acquired through the practices of Avant-garde artists, the "Institutional Theory of Art" and "The Sociology of Art". "Institutional Critique" included a wide range of methods and practices that were applied by artists who aimed at subverting or reforming and expanding the institutional framework of Art; these artists according to their common goals, in academic studies, are canonized as the "two waves", in addition to their influence on the functioning of the Art institutions -especially the Art Museums-, provided the basis for the formation of several theoretical and practical discourses. Therefore, understanding this critical discourse can be considered as a prerequisite for achieving a comprehensive knowledge of Contemporary Art. This article, which is considered fundamental research, from a methodological point of view is a Descriptive-Analytical that has used library sources to provide a general understanding of the "Institutional Critique". In the first place, it tries to identify the factors influencing the emergence of the "Institutional Critique", then analyze the Artworks and opinions related to the associated artists, and finally has a look at its performance and its effects on contemporary Art. Also, the lack of this topic in Persian-language studies provides another reason for doing this research.