本文嘗試將探討的概念主軸鎖定在裝置空間中的關係美學(Aesthetics of relation)問題，諸如：身體(body)、符號(semiology)與情境(situationism)等相關議題的研究。因此在論述上採取從「接受美學」、「後現代性的不確定符號『延異』」，以及「梅洛龐蒂的身體情境美學」等三個角度切入。首先，正如一九六八年，巴特(R. Barthes)宣佈「作者之死」之後，作者的「死亡」代表了讀者誕生。根據巴特的說法，文本是游移的、衍生的，無法加以框住釘死，是讀者閱讀時所創造出來的場域。「裝置藝術」(Installation Art)其實是很接近「文本」(text)的概念，其中元素的運作就像個文本需要觀眾進入一起生產意義。因此這種積極邀請觀眾參與的「裝置藝術」，表出「接受美學」(Aesthetics of reception)的向度。 「裝置」作品中透過重新組合的物件的和鋪陳的方式所帶出嶄新意義的展覽策略，使展場衍生出多重的個人以及文化、歷史詮釋。這種多元的開放性詮釋空間交給了觀資，某種程度上節合了後現代性中，不確定符號延異(diff?rance)的論述。同時，在裝置藝術中身體和空間的當下關係，存在著身體的歷程，一個在「時間之流」裡不斷進行的心靈活動，從一點到另一點，從一個物體到另一個物體，從一個符號到另一個符號，都必須面對著時間的存在；因此，裝置作品離不開「時間之流」的情境建構，也離不開身體在空間中的時間歷程。這正是本文最後借用洛龐蒂身體情境美學來佐證裝置空間中，身體情境建構的可能之理由。

　　　　　The conceptual locus of this article focuses on the aesthetics of relations inherent in installation space, including research into such related issues as; body, semi logy and situationism. As such, our discussion approaches the subject from three distinctive perspectives; “aesthetics of reception,” “diff?rance” and Merleau-Ponty’s “Body situation aesthetics”. Roland barthes declaration on “the death of the author” in 1968 acna also be seen as an observation concerning the birth of audience. Barthes argued that test is unfixed and dirviative and therefore can never be framed and nailed in place, because it is in effect an arena created by the viewing of an audience. Barthes argued that text is unfixed and derivative and therefore can never be framed and nailed in place, because it is in effect an arena created by the viewing of an audience. “Installation Art“ largely approaximates to this concept of text, its constituent elements requiring the participation of an audience to be infused with meaning. As such, “Installation Art” that actively invited the participation of an audience, expresses an “Aesthetic of reception.” Installation works make use of an exhibition strategy that utilizes brand new meanings created by reassembling objects and different layouts, giving rise to multiple different individual, cultural and historical interpretations. To a certain extent, handing this diverse and open interpretive space to the public accords with the theory of post-modern diff?rance. At the same time, there exists within the immediate relationship between the body and space in any work of installation art, a physical process, an activity of the soul ongoing as part of the passing of time. Any movement form one point, object or semiotic to another, must of necessity deal with the existence of time and as such, installation works are inseparable from the construct of the passing of time and the time spent by the body in space. Ultimately this is the reason text utilizes Merleau-Ponty’s body situation aesthetics to delineate the possibilities of the body situation construct within installation art.