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This essay is an attempt to view deconstructed notion of “Undecidability” and analyze readings that focus on a few paintings. The central argument of this study consists of two main sections. First, the formation of the West philosophy and strategies of deconstruction will be explained. Jacques Derrida developed a strategy called “deconstruction” in the mid 1960s. Deconstruction is generally presented to subvert, the various binary oppositions that undergird our dominant ways of thinking—presence/absence, speech/ writing, and so forth. The deconstructive strategy is to unmask these too-sediment ways of thinking, and it operates on them especially through two steps—reversing dichotomies and attempting to corrupt the dichotomies themselves. The strategy also aims to show that there are undecidables, that is, something that cannot conform to either side of a dichotomy or opposition. Indeed, to complicate matters, undecidability returns in two discernible forms in his explorations of these “possible-impossible” aporias, it becomes undecidable whether genuine giving, for example, is either a possible or an impossible ideal. In the second part, the three paintings of Alireza Espahbod(1330-1385), Iranian contemporary painter deconstructed reading and analysis will be described. His major works, the study of the visual masterpieces, which are known in the history of art. Amongst our contemporary artists, a few have particular social presence. We see different periods of the artist’s works with the topics of three of these titles works: “FREEDOM”, “RED HORN”, “RED HORN (detail)”. At the end, describing and analyzing Espahbod’s paintings can be pluralistic approach in Deconstruction reading. The main objectives of this research are: Understanding concepts of “undecidability” as pharmakon, Supplement, Khora. Then feed these concepts from the perspective of deconstruction and read the text as examples of paintings. The results of this strategy are the potential of “Deconstruction” for the analysis and study of the Art domains suggests.

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  Deconstruction and Surrealism, despite their different origins, are in accord on their criticism of deterministic approaches; both of them stand against reducing the infinite domain of meanings and interpretations to the determined and contrastive field of “binary oppositions”. Deconstruction challenges the structural contrastivism through its approach towards text and lingual structures, as surrealism does the same by altering the perceptive experiences and elevating the perceived reality. Given the aforementioned similarity in approach, the current research aims to use the reader-response theory to study the approaches of surrealistic art in 20th century (two-dimensional image) from the deconstructive viewpoint. The deconstructive analysis in this research is based on the reversed and disrupted relationship between oppositional components, and the “undecidability” of their final status. The research concludes that by disrupting the conventional relationship among contrastive concepts, wavering the certainties, and questioning the accepted convictions, surrealist images not only deconstruct the used visual system (abstract art and figurative art), but also “embody” (visualize) the deconstructive approach towards our conventional notions about reality.