臺灣當代女性藝術在80年出現，但於90年代中期開始面臨許多困境與挑戰。有鑑於此，本研究期盼探討臺灣當代女性藝術發展於90年代究竟面臨哪些困難與侷限，進行省思。研究輔以深度訪談與文獻檢閱方法進行分析，發現臺灣女性藝術進入90年代中期，面臨的困境包括：無法逃離性別本質論的爭議，即以性別作為一種創作策略，但卻陷入以男性霸權為主的思考邏輯。並且，面臨老、中、青世代交替，許多女性藝術創作者意見分歧，無法取得共識。最後，許多女性藝術創作者紛紛離開陣營，轉向多元角色身份。甚至，逐漸以一種沉潛、內斂的方式創作，不再討論性別。因此期盼藉由本研究的發現，能提供臺灣女性藝術現階段、未來發展的省思。

The contemporary women's art in Taiwan showed up at 1980's, and it had been going through many stages; in the middle of the 90's, it faced its confusing phase of development. Therefore, this article attempts to analyze the development of the contemporary women's art in Taiwan, and to see what difficulties, constraints and embarrassments they have met.The result have showed that the dispute over essentialism cannot be avoided after it came to the 90's, that is, during this time, the artists took gender as a strategy for creating, which however turned out to be the way of hegemonic thinking based on the male perspectives. Besides, there were no consensuses among the different generations, which made many of the artists multiple characters after leaving the field. Women artists no longer took gender as a topic for their creations but did it in a modest way afterwards. What mentioned above highlights the embarrassments and constraints women artists had met, and hope the analysis could find a way out for them.