新美術館學的概念強調以「人」為出發點，然而，如何運用展覽的規劃設計，來傳達並完成如是任務，便將涉及其他結構模式的不同思考，諸如空間的使用、概念上的區隔，以及與觀眾互動等元素。借鏡於精神分析理論，本研究設定己身為Baudelaire筆下的一位「都市漫遊者」，在象徵文明高度發展的美術館中「閒逛」，針對其中觀眾的參觀行為，進行觀察研究，以了解觀眾如何解讀空間中的訊息，又應如何看待觀者所回饋的凝視力量。而因應觀眾「漫遊式」的參觀行為，作為策展人與展示空間的設計師，又該如何思考、行動與決策？結合展示設計的理論操作，本研究期望能打破以「物」為主的寫實主義策展論述基調，藉實際策展之個案研究，建立「以觀者為主體」的展示設計環境。

Recently, new museums started to focus on application, exhibition, and promotion of education from an audience-oriented basis. It was in contrast the past when museums' collection, research and maintenance were the emphasis. One of the effects of such differences can be interpreted from both the curator and audience perspective. For the curators the effect involved different concepts in the utilization of space, compartment of thoughts, ideas, and the level of interaction with audience. For the latter, this leads to how audience accomplished the application of art works communication and self inspection through participation. The visiting behavior of the Flaneur in the city (by Ch. Baudelaire) in the museums perhaps best symbolized the high civilization and high level of cultural inspection. Through continuous analysis and comparison of records and a case, this study looks into different manners to interpret exhibitions, manners of gaze from audience, ways curators and interior designers could reflect, carry on and deduce policy in response to the visiting behavior of audience.