本文寫作主旨在於探應平面設計之藝術與非藝術的界域問題，本文尤其針對在中國大陸地區，1990年以來所發展之有關平面設計的實驗進行批判分析與反省。本文的研究主題除了關涉而當代平面設計的國際化傾向、當代全球設計者在設計動機與目標上普遍類似的性質、以及其所共同面對的通等之外，更涉及藝術與非藝術──諸如藝術與政治、藝術與商業、藝術與區域文化等──有關美學界域與藝術界域的問題。 本文首先探討平面設計構成的創作因素與辨識機制，及其藝術功能與作用。其檢視平面設計者為提升平面設計形象，使平面設計從非藝術到藝術的過程中，所採取的理論與實踐的創作策略，因而造成藝術與美學界域的擴張與延伸。

This paper focuses on the problem of graphic design as belonging or not belonging to the realm of “Art”. This question is analysed through graphic design in Popular China, where it appeared in the 1990’. The advantage of graphic design compared to other forms of visual expression is related to its international use and practice, by people who have identical motivations. The relationships between graphic design and politics, market, and social status are thus examined. After having explained the specific functioning of graphic design, the paper studies the strategies and the reasons that allow an originally non artistic activity to become a recognised art with its own theory.