以「藝術不是什麼」的方式來質問「藝術是什麼」的意義，是「踰越」思想的視覺實踐所檢視的問題意識。更確切地說，這主要是自法國思想家巴岱伊，1929 年主編的〈檔案〉雜誌，首次提出的「去形」美學所構想的視覺踰越邏輯。而透過當代藝術史家布瓦及庫斯策劃的〈去形：使用者指南〉展覽，則承繼了「去形」的想法，並且表現出他們重寫美國現代藝術史的意圖。為了詮釋「去形」脈絡的發展，本論文主要聚焦於〈檔案〉雜誌的演現性寫作，以及〈去形：使用者指南〉展在「去形」的想法之下，對美學、理論及結構的表現形式之態度。論文包含兩個主要部份：首先是透過「踰越」的宗教傳統，圈圍出其系譜，以及〈檔案〉雜誌和〈去形：使用者指南〉展覽對「踰越」的進一步使用；其次是從四大入口主題做為理論和展覽實踐，探尋「去形」和當代美學的關係。另一方面結論，也將藉由區分「去形」和「賤斥」的意義，彰顯「去形」與當代美學所產生的密切關係，以及對後續議題討論的開展。

Discussing transgression in a sense of visual practice could examine the meaning of art by contradicting it’s definition into the ontological uncertainty . More specifically, it is manifested by an aesthetics of formless (informe) which has first raised by the French scholar and the editor, Georges Bataille, though his magazine Documents during 1930’s. In terms of that, the contemporary art historians Rosalind Krauss and Yve-Alain Bois adopt the concept about formless to organize an exhibition Formless: a user’s guide which is also explored their intention to rewrite the modern art history of America.Initially, this essay focus on the performative writings of Documents and the manner of which aesthetic, thematic, and structural manifestations of the formless in Formless: a user’s guide. There are two major parts in this paper: first is to frame a genealogy of the thought about transgression by introducing the convention of religion, and the further use in Documents and the research essays to Formless: a user’s guide; second, I pursued the relation between formless and contemporary aesthetics by relating the four major entries not only thematically but practically. On the other hand, I
also concluded on issues such as defining the meaning between formless and abjection, that makes formless particularly germane for understanding contemporary art and initiating some further debates.