Anti-art is a loosely-used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre-World War I, when he began to use found objects as art.

The Stuckist group of artists, founded in 1999, proclaimed themselves “pro-contemporary figurative painting with ideas and anti-conceptual art, mainly because of its lack of concepts.” They also called it pretentious, “unremarkable and boring” and on July 25, 2002, in a demonstration, deposited a coffin outside the White Cube gallery, marked “The Death of Conceptual Art”. In 2003, the Stuckism International Gallery exhibited a preserved shark under the title A Dead Shark Isn’t Art.

Anti-anti-art is a stance proposed by the Stuckists[1] in their manifestos outlining their art. In it, they take a particularly strong position in opposition to what is known as “anti-art”.
Stuckists claim that conceptual art is justified by the work of Marcel Duchamp, but that Duchamp’s work is “anti-art by intent and effect”. The Stuckists feel that “Duchamp’s work was a protest against the stale, unthinking artistic establishment of his day”, while “the great (but wholly unintentional) irony of postmodernism is that it is a direct equivalent of the conformist, unoriginal establishment that Duchamp attacked in the first place”.

[Experimental art] is always, implicitly or explicitly, an experiment about art itself. By extension whatever is produced must exceed what can be recognized as art. If it did not, if it could be easily defined as art, then it would not be experimental.

Campaign launched in 1986 by Stewart Home which called upon all artists to cease their artistic work between January 1, 1990 and January 1, 1993. Unlike the art strikes proposed by Gustav Metzger and the Art Worker Coalition in the 1960s, it was not merely a boycott of art institutions through artists, but a provocation of artists addressing their understanding of art and their identity as artists.
The Art Strike 1990-1993 campaign received next to no attention in contemporary gallery and museum art, but resonated chiefly in artistic subcultures, above all Neoism and Mail Art. “Art Strike Action Committees”, often run by single activists, existed in London, Ireland, Baltimore, Albany/NY, San Francisco, Montevideo, and Uruguay. An Art Strike newsletter “YAWN” was anonymously published by Lloyd Dunn in Iowa City and appeared in forty five issues during the strike period.