本文首牨從2006年6月20日法國凱布朗利博物館(Musée du Quai Branly)在巴黎舉行建館開幕展寫起。本文作者擔任該館副館長，並協同策展與開幕同步開展之「什麼是身體」？(“Qu’est-ceu’un corps?”)的主題展覽。該主題展覽，該主題展覽涉及比較人類學的研究議題，探討身體在不同的文化脈絡下，如何被建構為具有象徵作用的「他者」。其次，本文指出策展的最大難題，在於如何避免以西歐身體美學的形象，框架「原始」的藝術文物，以對作品展覽進行一項美學的變革。為避免雙重困境，必須對西歐身體的表象化用進行「去美學實現」(désesthétisation)在認知上的對抗，以解構西歐博物館圖像展覽對「原始」藝術文物所進行的美學實現。接著，本文作進一步解說，「去美學實現」對有效策展西歐部分之身體圖像的必要性。不過正如本文作在前言中所指出，策展規劃和最後現場的展出雖有出入，但這點意味著展覽策略含容兩種表面矛盾之邏輯相互辯證的可能性。

The present paper takes as its starting-point the project of an exhibition at the Musée du Quai Branly (Paris) in which the author has taken part as one of the associated curators. The exhibition “Qu’est-cequ’un corps?” is a comparative anthropological study of how the body is symbolically constructed in different cultural settings, one of these being Europe. The foremost difficulty was due to the fact that the exhibition tried to confront “primitive” artifacts with European “aesthetic” images of the body in the context of a museum whose avowed project resides precisely in an aesthetic transfiguration of these “primitive” artifacts. To escape this “double-bind” the exhibition was supposed to “deconstruct” the museographic anesthetization of the “primitive” artifacts by way of a cognitive countermove of deasesthetization of the European representations of the body. The paper tries to show how this deaesthetization was supposed to be rendered effective in the European section of the exhibition. But, as indicated in the Foreword, the differences between the projected scenography at the moment when this paper was written and the scenography finally adopted, imply a less confrontational policy, that of the possibility of a dialectic interplay between these two apparently contradictory logics.