本文探討當代藝術中與「藝術家」和「普世性」有關的各種美學問題。諸如，普世性普遍嗎？藝街家在當代藝術當中的位置？普世性藝術家與國際性藝術家的異同之處？以及，普世性藝術家帶來什麼？本文首先簡要檢視普世性的當代藝術語境，一般而言，用以評價當代藝術家和藝術品的是文化範疇而不是普世性。其次，本文將指出在當代藝術中，藝術家的概念並不普遍，甚至沒有明確的定義。其三，本文將透過二十世紀初期藝術家的體驗，尤其是試圖建立一種「普遍語言」（universal language）的俄國未來主義者與亨利．米修（Henri Michaux，1899-1984）的案例研究，來探討藝術中的普世性的難題。最後本文以當代藝術家艾未未為例，解說一個藝術家從國際性藝術到成為普世性藝術家的角色蛻變過程。

The topic of the paper concerns the issue of universality and of artist in contemporary art: is universality universal? What is the place of the artist in contemporary art? What is the difference between a universal artist and an international artist, if there is any difference? And what do universal artists give us? In order to answer these questions, the paper first examines the context of contemporary art: usually, artists and artworks are evaluated following culturally identified categories. Then the paper focuses on the notion of artist: ＂artist＂ is not a universal concept, it is not even a clearly defined notion in contemporary art. Next, the problematic of universality in art is questioned, through the experiences of early 20th century artists, especially the Russian futurists and , later, Henri Michaux, as these artists have attempted to build up a sort of ＂universal language＂ . Finally, the paper exposes the case of the contemporary artist Ai Weiwei, whose example illustrates the shift from an international art to the figure of a universal artist.