本文企圖在傳統的視覺藝術史或者思想史角度之外，由建築藝術乃至許多建築藝術家所宣稱的「文化行動」觀點，來審視現代與當代這個複雜的命題。首先從丹托並且回溯至葛林伯格的藝術批評哲學與社會學批判理論（法蘭克福學派）為基礎來探討，並嘗試進入到由傅科的詮釋所建構的所謂「美學現代性」。如此互文辯證希望能進一步整理從「現代性」到「當代」之間的藝術概念轉變過程，並且釐清此一過程為同時期發生發展的前衛藝術建構了什麼樣的論述基礎。在上述的「傳統」詮釋之外，本文也增加了更為近期對於前衛藝術的研究文本來與丹托的文本進行比對閱讀。從丹托的《藝術終結》（1997）概念與菲利浦‧胡珊以及尚－皮爾‧孔梅蒂的《前衛的終結》（2011）說法交錯閱讀，整理出前衛藝術在今天被解讀的新面貌與可能被開顯出來的新價值，並且以「美學現代性」的視角重新審視從現代主義，歷經前衛藝術以至於現今藝術的諸多可能性思辯角度。以此辯證為基礎進行兩位建築藝術家的概念與行動分析，即柯比意與庫哈斯的創作理念與實踐行動分析。企圖由建築藝術的角度更清楚認知前衛藝術中的行動意涵，以及此行動意涵在前衛藝術的現代性文本轉折之後所持續賦予當代藝術的原型本質。

This article intends to take the ＂culture action＂ perspective, declared by some architects, to review the complicating proposition between modernity and contemporary. I start my analyses from reviewing Arthur Danto's commentary (backwards to Greenberg's theories) on critical theory of Frankfurt School as my investigating ground, meanwhile, to address Michel Foucault's ＂aesthetic modernity＂. With such intertextual dialectic, I expect to further investigate the evolutionary processes of the concept on ＂art＂ from modernity to contemporary, to clarify the discourse ground provided to Avant-Garde movement developing during the period. Besides the proceeding ＂traditional＂ interpretations, I include some contrastive studies which comparing Danto's ＂After the End of the Art＂ with Philippe Roussin and Jean-Pierre Cometti's ＂la fin des Avant-Gardes＂ (2011). Through these contrastive studies, I attempt to discover new visages, or even new values of the Avant-Garde. And with an aesthetic modernity perspective, I reinvestigate the various visages of the modernism, the Avant-Gardes, and the contemporary arts. Through the analysis the concepts and actions of two architects, Le Corbusier and Rem Koolhaas on the practices of the architectural arts, I attempt to further comprehend the significances of action in the Avant-Garde movement. And these significances might become the archetypical essence of contemporary arts which continuing endowed by the Avant-Garde in its modernity context.