本文思考，曼海姆提出的（馬克思主義）藝術史計畫何以在多年後依然深具力量，並且探討，難以將曼海姆的影像生產基本模式付諸實行的現實。曼海姆的膜是描繪了一個衝突的、物質性的具體影像活動進行的場域。而我們目前所處的影像世界哩，影像顯得（或宣稱要）愈來愈流動、飛具體與一次性，這些眾要特性使得要掌握影像生產的實踐物質性日益艱難。在此情況下，藝術史的任務和策略仍然渾沌未明。本文描述作者在最近兩本著作理所採取的策略，並進而思考，面對當前對於影像流動性與力即性愈加喧囂直上的崇拜（或意識形態），藝術史的教學可以有何種機會。

The article reflects on the continuing power of Ralph Mannheim's (Marxist) proposals for art history, and on the fact that Mannheim's basic model of image production-his picture of a conflictual, material field of concrete image-activities-has proved so difficult to sustain. It is argued that important features of the image-world we presently inhabit tend to make it increasingly difficult to keep hold of the practical materiality of image production, in the face of a realm of images that seems (or claims to be) more and more mobile, disembodied, and disposable. Art history's task and tactics in this situation are far from clear. The article describes the author's own tactics in two recent publications, and goes on to reflect on the pedagogical opportunities offered to art history as a result of its existing in the face of a more and more strident cult (or ideology) of image flow and image immediacy.