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1963年Henry Flynt and Jack Smith在紐約現代藝術博物館前，直接公開反對博物館的抗議行動。
摘要
觀念藝術始於一九六〇年代美國藝術運動之一支。其名稱在我國及國際上也已有約定成俗的用法。近四十年之發展，它的歷史可分爲一九六一至七二年的開創時期，以及八〇年代中葉迄今的新觀念主義時期。觀念藝術重視人及其生活經驗與生活環境之間，互動與感應的意義或認知觀念之表現。至於表現的藝術形式不但不固定，有的觀念藝術家甚至違反傳統美學的原則。除了作品之外，觀念藝術家也重視展示的藝術脈絡，及觀賞者心靈的參與。
發展中的觀念藝術，呈現多樣化的面貌。恰如其分地認識觀念藝術並不容易。本論文以描述性研究，說明觀念藝術是什麼。參考資料以英文專書、論文、及報導爲主，中文資料爲輔。
除了前言、結論之外，本文由背景簡述、定義討論、及特徵陳述等三部分構成。觀念藝術家及藝評家們在開創時期的定義，顯示了個別認知的差異，因此有文字、意義、非物質化、反形式...等特殊性的界定。九〇年代的定義，則呈現目的、形式、功能、歷史等一般性的說明。特徵介紹部分，將從藝術理論、創作過程、表現形式、生活關懷、物質使用、商業行爲、觀賞者參與、以及批判態度等不同角度，輔以選介作品的照片舉例，以顯示觀念藝術的豐富內容。
Abstract
Conceptual art appeared as one of the art movements in the United States in early 1960s. Many critics and art historians during the 1960s-70s had annoyed the tide of new art because they were confronted with a perplexing profusion of its styles, forms, and relating issues of discussion. For nearly forty years, conceptual art has influenced art activities and art education in many countries in Europe, America, and Asia. Although conceptual art becomes an international phenomenon in the art world, it is new to our society. There are few reports and articles in Chinese publications. More studies and information are still needed.
This is a descriptive article. The main purpose of the study is to explain what is conceptual art. Books, articles, dictionaries, and information in the network of computer in English are major reference, while those in Chinese are secondary.
The contents consist of three sections: short introduction of historical background, comparison of nine selected definitions, and discussion of eight summarized characteristics. The study of definitions presents not only the similarities and differences of perspectives among conceptual artists, critic, and scholars, but also the different understandings between the 1970s and 1990s. Eight characteristics illustrate the vision of art theory, process of making-works, forms, viewer's participation, and attitude toward materials, business, living experience, and critics of conceptual art.
註釋
