古根漢美術館來台灣，這個議題，曾經引爆島內沉默多年的視覺藝術界、博物館界、以及建築、文化、觀光、都市規劃等各界人士，甚至一般民眾的極度關切，造成一股銳不可擋的旋風。雖然，這個計畫相較於整個台灣史上對藝術文化課題的關注，猶如一波海嘯，雖曾掀起滔天巨浪、席捲台灣兩年餘，終究回歸大海。
藉著回顧整個事件發展，本文擬從城市再造的願景，觀察台中市引進古根漢分館所採取的立場、策略，以及國內政經局勢與環境；再從古根漢美術館國際行銷（International Marketing）策略分析，探討兩者交手的優劣勢及策略運用，以及最後導致無疾而終的可能原因。
古根漢、博物館、行銷、談判、策略
Just as a Tsunami, Taichong Guggenheim had been invading all island with billow rolling sky-high among the whole circle of visual art, museum, architecture, culture, tourism, city planning, and even the citizens from 2002 to 2004. However as time went by, things have gone back to the way they were.
Starting with the city reforge vision, this essay views what ground the Taichong city government takes of Taichong Guggenheim, how the politic-economic circumstances around and what strategies they make, as well as the Guggenheim's international marketing strategy analyze. While it explores the advantages and drawbacks and strategy making of the two, the final session would also explain the reasons why it goes for naught.
Guggenheim, museum, marketing, negotiation, strategy
