在藝術終結之後的藝術研究應該何去何從？是否人類學能夠為當代藝術以及雙年展研究帶來嶄新的可能與視野？本研究的核心在於嘗試探討通過康德人類學的概念進行藝術研究的可能。
研究裡證明了當代藝術的「雙年展熱潮」，其本質上乃是「世界公民」此新民族奠基於全球視野（Global Perspective）下的新文化產物。
研究於第二章中確認了「策展人」乃是某種性質的視覺人類學家，而「雙年展」等跨國際週期性當代藝術覽乃是世界公民的人類學田野。並且也間接地證實了跨國際當代藝術雙年展，已然成為「世界公民」此新民族的文化、藝術起點。
在第三章中本研究藉由史料爬梳與辯證，確認了「藝術史」及「人類學」二者乃是對「自我」與「他者」的詮釋之外，其本質上乃是同質的。也因此在一個全球化的時代裡，以康德式的「世界公民」概念，進行當代藝術研究與探討雙年展的全球化視野，以及其中各不同區域的價值及文化的融合與交錯是藝術研究的新可能。而透過針對大型國際展覽的策展論述及用語名詞趨勢的量化統計中，本研究在第四章中發現針對展覽概念與展覽論述進行量化統計研究，有助於釐清當代藝術中的發展現象。
研究在第五章以光州雙年展為例，證明了通過紀爾茲詮釋人類學其「地方知識」的「稠密論述」的觀念與方法，雙年展得以實踐康德的「世界連結」概念，從而將全球人類連結成為「世界公民」。最後研究在第六章中，通過證明紀爾茲詮釋人類學其「地方知識」的「稠密論述」與潘諾夫斯基的圖像學（iconology）藝術史在基礎概念上的一致性，因此確認通過詮釋人類學的「稠密論述」，當代人類學式的藝術研究得以連結過往藝術史的累積從而串連起時間（歷史的）與空間（當代的）的一體性，使得全球具備多層次的一體性以及更為深刻的「世界連結」。

How will an art research possible after “the End of art”? If anthropological approach of contemporary art and biennale, would create a new perspective?
The very core of this study is to explore the possibility of art research through the Kantian anthropological approach.
Through study, this research proved that the “Biennale Fever” of contemporary art is in fact a new cultural product with “Global Perspective”, which was created by the “World Citizen”.
In chapter 2，this research confirmed that the curators of contemporary art are in fact a kind of visual anthropologist. And periodical international contemporary exhibitions such as “biennale” are the anthropological observation field of “World Citizen”. It also implied that those exhibitions were already became the beginning of cultural and artistic expression of “World Citizen”.
Through the reviewing and analyzing of historical archives, this research proved that there are no difference in the very essence of “Art History” and “Anthropology”, but one is the description for “Self” and anther is for “The Other”. This outcome also indicates that in a Globalization era there is possible to study and explore contemporary through the Kantian concept of “World Citizen”. Meanwhile in using the statistic of big data of the key words of curatorial description, this research proved the statistic do really helpful in discovering the development trend of contemporary art.
In chapter 5, in using “Gwangju Biennale” as an example, this research proved that through the interpretive anthropologist Clifford Geertz’s concepts of “local knowledge “and “thick description”, biennale would be possible to fulfill the Kantian concept of “The connection of the world”, which will linked human beings all over the world and become “World Citizen”.
In the final chapter, the research also proved that in the foundation of Clifford Geertz’s concept of “local knowledge “is the same as the concept of Erwin Panofsky’s “iconology”. With the same theory foundation of “local knowledge “and “iconology”, it implied that there is possibility to include the studies of “Art History” into the new anthropological approach of art research, which would accumulated more layers of “World Connection”, not only in space but history too.