展覽空間與藝術家有密不可分的關係，展覽是藝術家溝通訊 息的媒介，展覽空間則是藝術家表現自我的競技場域。社會空間 存在的資本形式、階級競爭、權力關係攸關藝術家在藝術場域中 生存的條件，展覽場域中的各種運作法則與機制則牽動藝術家的 成就發展。本文以實際觀察台灣當代藝術現象與生態，試圖從法 國學者布爾迪厄的場域概念出發，剖析台灣當代藝術場域中展覽 空間與新生代藝術家之間的密切關連，以及作為被支配者的這些 藝術家如何在各類展覽空間中，力求達到支配者所建立的價值標 準，進入必要連結的藝術網絡，累積自我的資本形式總量與其他 藝術家競逐，以取得在藝術場域中佔有個人所追求的位置和聲 望。

There is a close relationship between exhibition spaces and artists. Exhibition is an important means of communication for artists. Exhibition space is then a struggling field for where the artist expresses themselves. The forms of capital, class struggles, and power relations in the social space are concerned with artist's existence in the art field. The various operations and systems in exhibition fields affect accomplishments of artists. Through the observations on current phenomena of Taiwan's contemporary art, the paper studies the relationship between new generation artists of Taiwan and exhibition spaces by applying the field theory of Pierre Bourdieu. Within a variety of exhibition spaces, Taiwan's young artists, as a dominated class, have tried to achieve the dominator's value criteria in order to enter the artistic networks, to accumulate capital forms of self to compete with peers, and ultimately, to obtain the desired position and prestige in the art filed.