This research will explore case studies of artist collectives, focusing on Bernadette Corporation, DIS, and imagists Hairy Who? considering the Artist career rubric via a lens of institutional critique. The essay will discover whether artist collectives may function as the antidote to Institutional exclusion, functioning almost as a union. The theory is that if one member of the community gains in success, the artist collective (in a sense the adversary of the museum) receives due credit and marcation in mythologized art history. Both Bernadette Corporation and DIS are current though their role in the art community may be considered and speculated on to suggest acceleration of art historical inclusion in contemporary art. I will discuss Hairy Who and how their collective led them to be widely celebrated, as well as artist collectives who are just now receiving recognition (note, MOCA’s recent Pattern and Decoration exhibition). Artist Collectives are a function of community, more than institution, often utilizing guerilla methods such as zines, self-publishing, artist organized exhibitions etc. I will consider these methods and discuss how, when performed by a collective rather than individual, they are embraced. The exhibition will present art objects, sculpture, photo/installation, video as well as DIY printed material published by these artist groups. It should function as part historical exhibition, part environment/happening.