无论是喧闹如“达达”还是淡泊如杜尚他们都以其坚定的态度“预示了现代主义艺术演进的第二个阶段——抛弃绘画本身”。现代主义艺术运动行至于此已经对于艺术的存在方式以及是否具有存在的必要发出了终极设问,在问题的悬而未决中,又再一次地激发了另一个截然不同的创造领域,西方艺坛在六十年代陆续出现的波普艺术、行为艺术、大地艺术以及观念艺术等等在不同程度上都受益于达达与杜尚的启发。 Whether it is noisy such as “Dada” or indifferent as Duchamp, they all show their firm attitude “to foreshadow the second stage of the evolution of modernism - abandoning the painting itself.” As far as this is concerned, the modern art movement has sent the ultimate question as to the way of existence of art and the necessity of its existence. Once the issue is still pending, it once again stimulates another very different field of creation. The pop art, performance art, earth art and concept art, which appeared one after the other in the decade, all benefit from Dada and Duchamp to some extent.