本研究以分析杜象（1887-1968）對觀念藝術的是啟發與影響為目的。全文探討當代藝術史在1915-1977 期間，杜象效應與觀念藝術發展的關係。研究方法採用歷史研究與比較研究法。經由幾位觀念藝術家的言論、代表作品的象徵、以及特質的對照，我們可以證明都與杜象對藝術創作的觀點、理念、多樣化媒材選擇、心靈溝通…有相關性。 　　杜象是當代藝術史上第一位以「現成物」（Ready-Made）的作品，送入藝術展覽機制的藝術家。從他之後，藝術創作特別重視藝術家「意象觀念化」的意圖，以及作品與觀眾的互動。杜象的許多作品都企圖激發人們對藝術本質作最直接與深層的探索。 　　1960 年代興起於美國的觀念藝術'強調以藝術的途徑結合哲學的態度，探討藝術的本質與意義。再者，他們以現成物、文獻檔案、文字、表演、裝置、地景等媒材，反對傳統的形式，顛覆商業行為與傳統權威，並關注觀賞者的心靈參與。那些內容與方式，都與杜象的創意和風格有關。杜象與觀念藝術之間，無論在思維、理論、方法、技巧各方面，都有令人省思與耐之尋味之處。

　　This article analyzes the heuristic influence of Marcel Duchamp on Conceptual Art ' which is an interesting topic in contemporary art history , with a historic study and comparative method, the author compares many important characteristics and art works to explain their similarities. The article is divided into four parts: Duchamp's life and creative works, the background and significance of Conceptual Art, Duchamp's heuristic impact on Conceptual movement, and the conclusion. 　　Marcel Duchamp (1887-1968) led contemporary art history to shift from visual form to art with the conceptual significance of philosophic thinking. Duchamp's innovation, that is, using "Ready-Made" as art object in 1910s, brought impact on the art world. He himself did not belong to any school during his lifetime. But he became an influential legend to Dadaism, Sur-Realism, Pop, Happening, Land Art, Installation Art, and especially Conceptual Art. 　　Conceptual Art appeared as one of the art movement in 1960s. Through questioning the nature of art, conceptual artists considered ideas and/or intention to be more important than art object. They rejected form of painting, challenged traditional institutes as authority, and opposed to art market. Those features and many other evidences demonstrate that Duchamp brought heuristic influence on many conceptual artists and their works.