观念艺术毋宁说是伴随都市日常生活审美化的一个必然产物。其必然性一如黑格尔的艺术哲学逻辑,必然从感性走向理性,从物质走向精神。勒维特的不锈钢盒子挑战的不仅仅是康德美学,不但割舍了美,而且干脆就一笔勾销了直观形象,哪怕是艺术家亲自制作的形象,它更挑战了柏拉图、亚里士多德以降便当仁不让高居至尊地位的视觉文化,它显示的是能指不但与时间,而且与空间联系的断裂。不仅是艺术与现实,文化与自然的逆转,而且干脆就屏蔽了对象的感知路径,不论它是艺术抑或现实。 Conceptual art is more of an inevitable result of the aestheticization of urban everyday life. Its inevitability, like Hegel’s philosophy of art philosophy, is bound to move from sensibility to rationality and from materialism to spirituality. Levitte’s stainless steel box challenged not only Kant aesthetics, not only gave up the United States, and simply put an end to the visual image, even if the artist personally produced the image, it challenged Plato, Aristotle to drop supreme Supreme Visual culture of status, which shows a break that can refer not only to time but also to space. It is not only the reversal of art and reality, culture and nature, but also the masking of the path of perception of the object, whether it is art or reality.