This study is in fact an attempt made to come to an understanding and achieve a theory of text interpretation (that of the Visual Arts, here) from a deconstructive perspective. On the basis of Derrida’s work, one can sum up his theory with regard to the analysis of the visual work in three main areas: the context, background, or material of the work, signs of the work that pursue the signification process in form of traces, and, eventually, Parergon that defines the limits of the work and its scope and, more generally, that of the art and non-art. From a deconstructive perspective, each of the three aforesaid concepts does in fact render the interpretation of the work undecidable in the process of signification. This study first delves into the concept of Parergon, which is originally introduced in Kant’s third Critique, and then applies Derrida’s interpretation and analysis of it to its own selected works of art. Thus, with regard to the concept of Parergon, art comes to intake new meanings and also gain the possibility of expanding into other fields and areas. In the practical criticism conducted by this study, three of the paintings created by Alireza Espahbod, one by Ismail Shishehgaran, and one by Babak Golkar are put to analysis. The works of Espahbod and Shishehgaran are delved into on the basis of the concept of Parergon and with the centrality of text, while this is done to Golkar’s work with the centrality of the author. The analysis of these case works can be considered as an attempt to give an account of the status of Iran’s contemporary art by seeking its own aesthetic paradigm.