1964年阿瑟·丹托(Arthur Danto)在曼哈顿东74大街的斯特伯画廊看了安迪·沃霍尔的《布里洛盒子》之后,就确信艺术终结了。尽管80年代德国新表现主义的强势登场,让艺术又看到了再生的希望,但这种希望很快就随着新表现主义的衰落而熄灭。阿瑟·丹托和汉斯·贝尔廷(Hans Belting)几乎在同时出版了以艺术终结为题的著作,一时间围绕艺术终结的著述铺天盖地,艺术在气息尚存的时候就被宣布死亡。但是,这只是西方艺术界的状况。在艾尔雅维奇(Ales Erjavic)看来,艺术终结只是第一世界的现象,因为那里已经不具备艺术生长的土壤。第一世界国家过于稳定,很难发生出人意料的奇迹,生活于其中的人们既没有发自肺腑的快乐,也没有刻骨铭心的痛苦,他们的生活状态就是在混日子。这样的社会,艺术家的创作既缺乏外在刺激,也缺乏内在动力,不可能诞生强有力的艺术作品。艾尔雅维奇将艺术的希望寄托于发展中国家,因为那里的社 After Arthur Danto watched Andy Warhol’s Brillo Box in 1964 at Staples Gallery on East 74th Street in Manhattan, he was convinced that the art was over. Although the emergence of German neo-expressionism in the 1980s brought the hope of regeneration to art, this hope soon vanished with the decline of neo-expressionism. Arthur Danto and Hans Belting, at almost the same time, published works on the topic of the end of art. For a time, there was an overwhelming amount of work on the end of art, and art was declared dead at the time of its existence. However, this is only the status of Western art circles. In the view of Ales Erjavic, the end of art is only the phenomenon of the first world, because there is no longer the soil for the growth of art. The first world countries are too stable and hard to come by with surprising miracles. The people living in them have neither happiness from the heart nor the unforgettable suffering, and their living conditions are mixed. Such a society, the creation of artists lack both external stimuli, but also the lack of intrinsic motivation, it is impossible to produce strong works of art. Ayrvitch pinned his hopes on the arts in developing countries because of the community there