本文透過解讀Danto《藝術終結之後》一書，以釐清其“藝術終結”觀及其涵義，進而嘗試循以重構Danto具有代表性的西方美學論述，並評論其中可能存在的疑點，且修正地提出一種作為“根源性的實踐反省學”進路的美學觀。本文大致上論證：(i)“藝術的終結”一詞其實是“藝術重新來過”的同義語，然Danto的藝術終結論仍然是某種敘事，不同的是，他為讀者展示了各種重新發展美學論述的機要；(ii)Danto本人的美學論述可循“藝術的本質觀”、“意義美學”和“體現論”加以重構，但是，其論述可能暴露了取消美學之“根源性探究”進路與地位的缺陷；(iii)取捨“美感”與“實用”的爭議，在其書中給出了一次充分對話和商榷的契機。

In this paper I shall be attempting an interpretation of Danto's ideas of ”the end of art” and its implications in his work ”After the End of Art”. First, I intend to reconstruct Danto's aesthetic ideas and to point out the limitation of his aesthetic discourse for it ignores the fact that aesthetics is properly the primordial discipline of reflection-in-practice. Second, I also want to clarify the issues of the ”essence of art” indicating that it is properly not a property-dependent subject. Finally, I try to demarcate the dispute of choice between the aesthetic and the practical, my argument is that the aesthetic should not be redundant at all.