在西方现当代艺术的语境中,机构批判往往是对固化的展览陈列方式、僵化的美术馆体制所提出的反思,并期许在这样反思的过程中生产新的知识。而反思的形式也层出不穷,从艺术家主体的创作、行为实践、宣言反叛到艺术生态中的其他探索,比如书面的文字批评,以及展览本身“以身作则”地从策划主题入手来自我批判。不难发现,这些反思探索的形式,尤其是将展览本身作为表达媒介的形式,很容易掉入自问自答、自我服务、自娱自乐的陷阱中。以机构批判为标语的实践似乎已经成为一种常态,一种“时髦”的伪批判。比利安娜·思瑞克在上海奥沙艺术空间策划的群展“正如金钱不过纸造,展厅也就是几间房”却 In the context of Western modern and contemporary art, institutional criticism is often a reflection of the solidified display mode and rigid art gallery system, and hopes to produce new knowledge in the process of such reflection. The forms of reflection are also endless, starting from the subject of the artist’s creation, practice, declaration of rebellion to other artistic exploration of the ecological environment, such as writing criticism, and the exhibition itself “to lead by example ” from the planning theme to self-critical. It is not hard to find that these forms of reflection and exploration, especially the exhibition itself as a medium of expression, can easily fall into the trap of self-criticism, self-service and entertaining. The practice of using institutional criticism as a slogan seems to have become a norm, a pseudo-critique of “fashion”. Billy Anna Si Rick in the Shanghai Orsha art space planning group exhibition “Just as money but paper making, exhibition hall is a few rooms ”