本研究試圖藉探討女性的身體在女性主義視覺藝術中的位置來說明女性主義和後現代主義之間的關係。由分析 Frida Kahlo, Niki de St. Phalle, Cindy Sherman 等三位不同國籍女性創作者的作品，我試圖解答身體應該如何在女性主義藝術中定位的問題。研究的最主要論點在於提出「論述工業」以奠定女性主義藝術得以成立的物質基礎。而此觀點，質言之，將明顯地不同於論述形成、再現政權（傅柯）；新的藝術社群（ Judy Chicage ）和論域地平線（ Bakhtin ）等觀點。 雖然是一個尚在發展過程中的觀念，但作者將在結論中強調「論述工業」有涵蓋以上所有觀念的潛力；因此也是女性主義視覺藝術值得繼續努力的方向。

　　　　　This research aims to investigate the position (and positioning) of women's body in the realm of reminist visual arts. By analyzing the representatives of three generations of feminist artists and part of their oeuvre, I discuss the dilemmas of using one's body as a performing object(medium). After introducing the work of Frida Kahlo, Niki de St. Phalle and Cindy Sherman, the paper proposes to establish a "discourse industry" for the basis of body-feminist-visual-art. A still developing concept, discourse industry is different from, and will have the potential to integrate, the idea discourse formation and regime of representation (Michele Foucault), alternative art community (Judy Chicago) and discursive horizon (Mikhile Bakhtin). Moreover, discourse industry can explain, very satisfactorily, the emergence and the recent redevelopment of feminist visual art of the 1970s and 1990s. Therefore, the pursuit of a discourse industry may be a worthwhile effort for the future growth of feminist visual art.