Any attempt for defining and explaining the pillars of today's art is being in a cycle without beginning and ending ideas that created by the accumulation of intrinsic theories of history along with contemporary sociological theories of art. This difficulty when comes to its peak, the dominant trend of postmodernism, with doubt in all of the great modern aesthetic narratives, opens the way for the appearance of conceptual art as the supremacy of the idea on the artifactuality and plurality of new artistic forms. The forms that, each of which by critique or negation of fundamental concepts such as aesthetic object, aesthetic experience and aesthetic pleasure are autonomism claim. The present paper, with questions about the role of artist, artwork, audience and environment in today's art, leads to the conclusion that, the first, we must search a definition of today's art. The search that ultimately leads us to sociological definitions of art, in which not found theory that can be generalized to the plurality of art forms of today. New definitions of art such as George Dickey's institutional theory or functionalism of Monroe Curtis Beardsley, that one of them reduces the value of an art object to its acceptance in the artworld, and the other reduces it to political, social, psychological and aesthetic function, just they do remind of this point, that today's art still has its own broken foundations from its earlier foundations and has not totally left the realm of aesthetic experiences. Such an open and wide context that, in turn, disregards the difference between truth and narration, continues to use the paradoxical way of using scientific data such as quantum physics and chaos theory to uphold its attitudes and, more than anything else, has employment to spontaneity of the artistic phenomena, by relying on the horizons of the new media and network, which simultaneously speaks of interaction, conflict and understanding between thoughts, it leads to the appearance of an institutional discourse in which an overall framework for presentation and influence of mentioned elements will be provided. This institutional discourse, in a general attitude, firstly is confirmation under the title of postmodernism, and then distinguished in the general title of conceptual art. Conceptual art, allows the artist that before the beginning to create artwork, to ask questions about the quiddity of art. Under the title of Conceptual Art, art work also becomes a process in which nothing is predicted at the beginning or the end. In this cycle, the audience plays the same role that the artist has toward his work. Today's audience, with attending inside the artwork, become a living and continuous interpreter of the artwork. In between, the environment as well, no just conventional places, such as museums and galleries, which considered to be as an inclusive and expanding space that allows the artist to deepen his free association with the place, audience, artwork, and in an artistic expression.