This article examines the status of counterhegemonic knowledge in art institutions – such as the theatre and the gallery – by analysing Forensic Architecture's investigation into the murder of Halit Yozgat in Germany. We argue for paying close attention to claims about art institutions’ inherent counterhegemonic potential. As evidence, we present a critical experiential account of our visit to Forensic Architecture's gallery exhibition Counter Investigation at the Institute of Contemporary Arts in London. Following this, we discuss how the investigation was presented at the civic tribunal Tribunal NSU-Komplex auflösen, whose organizers took over and reassembled the municipal theatre Schauspiel Köln in Germany (2017). Drawing on an expert interview, we explore how the tribunal actively positioned itself against the potentially violent structure of the theatre space. Ultimately, our discussion considers the requirements for supportive and effective political alliances by art institutions and thus contributes to the debate in performance studies on institutional critique.

本文通过分析 Forensic Architecture 对 Halit Yozgat 在德国谋杀案的调查，考察了艺术机构（如剧院和画廊）中反霸权知识的现状。我们主张密切关注有关艺术机构固有的反霸权潜力的主张。作为证据，我们展示了我们参观伦敦当代艺术学院法证建筑画廊展览反调查的批判性体验记述。在此之后，我们讨论了如何在公民法庭 Tribunal NSU-Komplex auflösen 上进行调查，其组织者接管并重组了德国的市政剧院 Schauspiel Köln（2017 年）。根据专家访谈，我们探讨了法庭如何积极地将自己定位于剧院空间的潜在暴力结构。最终，我们的讨论考虑了艺术机构对支持性和有效的政治联盟的要求，从而促进了关于机构批评的表演研究的辩论。