隨著人們對於終身學習的需求提高，亦意味著博物館時代全面化的來臨；今曰，新博物館學的概念以「人」為出發點，將過去博物館以收集、研究、維護藏品為重心的經營理念，轉向運用展示及推廣教育為其經營重心；而美術館屬於博物館的一支，更是在社會教育的範疇中，最常從事藝術教育活動的場域，美術館在此，不僅提供了欣賞藝術原作的視覺經驗，成為了鑑賞教育最佳的學習場所；然而，美術館該如何運用展覽的設計，來傳達並完成如是的任務，便將涉及到其結構模式的不同思考，諸如空間的使用，以及想法、概念上的區隔、與觀眾互動等元素之深度考量，身處其中的觀眾必需透過參與和觀看的過程，達成與藝術作品溝通和執行自我的觀看實踐。
本文之論述架構，將根基於此項觀點，延伸至與美術館展示之相關課題，首先強調在美術館中，如何運用展示作一「有效性」的呈現，達到加強互動的基礎，而其中則牽涉了相關展示內容的參與程度、詮釋與再建構的過程；而後將深入探討在這個架構之下，如何以觀眾為主體，用一種全新的角度切入，帶入拉崗（Jacques Lacan）與傅珂（Michael Foucault）的論述，來看待展示設計的過程；最末，則嘗試在本文中涉入兩肇學者提及有關觀看理論的運用，輔以選取國內展示實例來論述觀者於其中參與程度之分析，作為日後美術館策展之基底，也希冀與意欲從事美術館教育時，針對其展示之思考模式的一個分享。
觀看理論、拉崗、傅珂、策展人、建構主義
The popularity of the life-long learning driven by our needs means the museum era has come. Today, new museums started to focus on application, exhibition, and promoting the education from the people-based start point, and thus are different from the emphasis of collection, research, maintenance in the past. Among all, art galleries belong to one branch of museums, and are the most frequent places for art education activities. Art galleries not only provide us with the visual experiences for appreciating some original art works, they also become the best venues for appreciating education. However, how art galleries can apply the design of the exhibition, to express and accomplish such tasks will be involved with different thoughts caused by their discrepant structures such as the use of space, the compartment of thoughts, concepts, and whether they are interactive with the audience or not. The audience who gets involved needs to accomplish the goal of communicating with the art works, and realizing the implementation of the self-observation by the participation and the observation processes.
The structure of the article will base on this viewpoint, and be extended to some relevant issues of the exhibition of art galleries. First, we emphasize how we can utilize our exhibitions to provide an effective presentation, and thus, to strengthen the interaction. Among all, they are involved with degrees of participation of some relevant exhibitions, the processes of interpretations, and reconstructions. Finally, with the audience-based main body we will have a profound exploration as to how we can use a brand-new angle to bring in remarks by Jacques Lacan and Michael Foucault to examine the process of the design of the exhibitions. Finally, two studies about the application of the observation theories were mentioned, added by some examples from Taiwan to show the analysis of the degrees of participation from the audience, and this latter part can also serve as the basis of some future art gallery exhibitions. The final hope of this article was to share with many others on the thought models of exhibitions when they want to engage themselves in art gallery education.
Observing theories, Jacques Lacan, Michael Foucault, curator, Constructivism
