In 1969, Harald Szeemann, the Director of the Kunsthalle Bern, Switzerland, organized the exhibition “When Attitudes Become Form.” He left the Kunsthalle the next year and invented the profession of “independent curator.” After 1980s, the concept of independent curator spreaded all over the world. Many museums began to invite guest curators to produce and organize exhibitions for them. In 1998, this concept was brought into Taiwan through the “Taipei Biennial” organized by the Taipei Fine Arts Museum. Most of the current discussions of curatorial mechanisms define an independent curator as an exhibition organizer outside of the institution in accordance with Szeemann’s practice. In fact, neither do guest curators belong to any official exhibition organization, nor do they share the disciplinary consciousness of the art museums’ staff members. Applying Pierre Bourdieu’s concept of cultural production in “the intellectual field,” this study argues that the guest curators are inventive knowledge producers and examines their position in the current curatorial practice from the aspects of “intellectual renown,” “scientific prestige,” and “scientific power.” By means of Arthur C. Danto’s discovery of the “post-historical art,” this study will further expound the curators’ tendency toward philosophical thinking, their rejection of painting as a dominant medium, as well as their attention to current issues and social contexts. These characteristics differ from those in the conventional approach toward modern art that focuses on aesthetic value, linear history, purity in painting, and a sense of alienation. This study investigates the role of cultural production in Taiwan’s curatorial mechanisms and the impact of the guest curators’ involvement on art museums. It also attempts to show that museums of modern art can expand their possibilities through experimental exhibitions, thus embracing a greater variety of art forms and structures.