This essay will focus on why and how conceptual artists set out to destroy or undermine the value of physical pleasure in the creation and reception of art. To discuss this issue, we must first look back to history to examine the historical context of conceptual art. In the 1960s the world goes through a turbulent state going through all sorts of crises. After the First and Second World Wars, the traditional value and institutional system had been overthrown. The collapse of old world politics, social order and authority, the rise of feminism, racial conflict between black and white and the intervention of the Vietnam War forced artists to challenge the conventional system and the authority. In terms of technology, after the invention of photography, artists did not worry too much about realistic representation. Pictures, music, tapes, neon lights... everything on earth can be a vehicle for art, which has created infinite possibilities for artistic creation. Many conceptual artists are also influenced by 20th century philosophers, such as Ludwig Wittgenstein, Walter Benjamin, Karl Barth, and raise the question of perception and representation. Conceptual art also emerged, developed and influenced by other art movements such as Dada, Pop art and Minimal Art. Mary Anne stated in her article "Conceptual Art" that "Modernism historically developed and artists began to work outside of pictorial frames...artists have moved from morphological questions to questions about the production of meaning and value and what makes a particular object or practice in art' Conceptual Art could hardly be called an artistic style, in different periods of its history, it has a different critical approach... middle of the paper... I stop existing If it existed permanently in the gallery space, it would lose its original meaning. His 1973 installation Untitled further criticizes the art institution. He sandblasted the layers of paint on the gallery walls and ceilings to reveal the underlying surface of brown plaster, partitions have been removed and only natural light can be used to illuminate the space. The white cube is completely absent. It is precisely this absence of white cubes that makes the logic of the institutional system clearer. In this white cube, the commercialization of works of art embodies the vulgar fetishism of capitalist society. To free art from this logic of fetishism, questioning the condition and limitations of the institution has become the main concern of conceptual artists. As stated previously, this requires that art not be purchased and exchanged as a commodity, but rather that the concept can be owned by anyone.