Anti-Art refers to a radical style of anti-art which questions the definition and purpose of the art one creates or performs as such. It is a subversive movement that arose in the twentieth century as a reaction to traditional art. Art had been fundamentally all about beauty, and emotion, and it was done for effect. Rather than being in, and doing art, the practitioners of anti-art went through the entire process of stripping art of its beauty by using non-beautifying materials, rough process techniques and suggestive challenging ideas such as ‘boredom’ as its theme. The movement gained steam during the World War I particularly when Dada went on coming to the fore. Dada was a movement that wholeheartedly accepted absurdity and un-establishmentarianism. Alongside Dada, a few new artists such as Marcel Duchamp, Man Ray, and others started actively practicing what is reputed as ready-made art, art pieces usually made from scraps or commonly used objects. Dadaists attempted to abolish the distinction between art and life, as well as the dichotomy of reason and irrationality by means of satirical critique of society, politics, and cultural norms and values. Their work laid the groundwork for later esthetic Radical Constructivism movements like Surrealism and Fluxus. In contemporary times, Anti-Art has continued to affect present accounts of performance, and conceptual art, and postmodern critique of art institutions. With the advancing effectiveness on what can be regarded a piece of art in view, Anti-Art has undoubtedly remained a disruptive force that excites breathtaking thoughts and impulses to awaken new ideas concepts while challenging the conventional perceptions towards art, creativity and appreciation.