本文通過對張乾琦的《鍊》與周慶輝的《野想》之批判的話語分析，探討作為當代視覺藝術的新紀實攝影代表性作品，如何建構意義與話語權力，進而產生了「意義的暴力」。本文發現，藝術話語所生產的意義與權力，不僅來自攝影作品與攝影家，也是媒體、評論者的詮釋，與美術館、攝影集製作等的共構結果。本研究也發現，這項共構不見得是有計畫的，甚至有時觀點矛盾、混亂；然而，它們仍成就了話語權力。

This essay studies how the construction of meaning and the discursive power could be created through a critical analysis of artistic discourses in, and around, the new photo-documentary works by Chang Chien-chi and Chou Ching-hui. It investigates what and how meaning, power and ‘violence’ are jointly produced by not just the photographic works per se but also artistic rhetoric from photographers, their critics, the media, art museum, and the monographs, despite their sometimes discrepant opinions. The essay argues that the joint effort, although not necessarily an act of intended complicity, nevertheless establishes a territory of discursive power that appears to have an essence of violence in meaning.