1980年代以來，臺灣藝術界不斷提出須將當代藝術評論機制化的呼籲。1990年代中期以後，包括藝術評論獎、藝術評論研究所、藝術評論專業雜誌、藝術評論人協會等機制陸續設置，將臺灣的藝術評論實踐，推向一供應鏈式的專業養成管道與實踐場域。本文將回顧此一趨向近二十餘年來的發展，各種藝術評論機制如何發展出相應的評論實踐方式？在藝術評論學科化或典律化的過程中，又建構出何種相關的視覺方法與詮釋架構？藝術評論方法與臺灣美術史的視覺性與視覺識讀策略如何調整、協商？本文將逐一檢視、整理與回溯，思考藝術批判性在晚近臺灣藝術體制的策展實踐意涵。

This paper engages to examine the movement and institutionalization of art criticism in Taiwan since the late 1980s by critics. Differing from mainstream interpretations on the movement of Taiwanese art criticism, the author argues the movement was an institutionalization of canon which is composed of art magazine, critic award, M. A. program, society of art critic. The second part of the paper is an analysis about intellectual discussions and debates against the post-1996 context. This paper tries to show that some of visual methodologies suggest the way to approach this field also reflect upon other visual and critical strategies. Focusing on issues such as biennale, curatorial apparatus, nationalism in Taiwanese art, the author gives us a comprehensive interpretation of the curatorial trend and its critique of Taiwanese art institution in recent years.