一九九○年代以來，臺灣的博物館界興起一股「超級特展」熱的現象，其所呈現的特殊展覽型態、所吸引的大量參觀者，與社會中相關的論述領域有著特定的關係。有關美術策展者的言語論述中，「策劃者地位」的諸多描述，乃關聯著超級特展策劃者的角色特性。就是由於大型博物館中的展覽論述型態，於超級特展中進行論述轉型，博物館展覽的策劃者地位才可能在某種程度上讓給其他行動者，如基金會人員、媒體人員等。接著指出，超級特展論述形構的對象，乃是一個更消費化的社會人口。透過超級特展的展佈，博物館館員似乎逐漸改變了自身身態。本文最後指出，博物館對社會大眾的需要與興趣必須有更深入的瞭解，才能更加面對當今社會變遷的挑戰。

Starting in the 1990s, the phenomenon of museum “blockbuster exhibitions’’ emerged in Taiwan society. The characteristics and features of these exhibitions and the large numbers of visitors that they attract show specific relationships with associated discursive fields of society. The description of “curatorship’’ is associated with the characterized role of exhibition curators. Because the discursive characters of museum exhibitions are transformed in blockbuster exhibitions, museums might find that they need to yield their curatorship to other agents, such as foundation representatives or the media. In addition, it should not be forgotten that the discursive object of blockbuster exhibitions is the consuming populace. Through the distribution of blockbuster exhibitions, museum workers seem to be gradually modifying their habitus. Finally, museums must gain a deeper understanding of the needs and interests of the public, to effectively face the challenge of social change.