光復後藝術生態歷程分析，1992年是台灣藝術生態產生質變的「變點年」；往前推算二十年的期間，醞釀初級藝術市場和私人收藏的基礎；往後延伸二十年至今，本土藝術市場與藝術生態顯現升級和轉型的態勢。就四十年的歷程而言，1992年幾件藝術事件透露了正值承接轉換的重要訊息，也由此，藝術商品化成為評價台灣藝術生態的關鍵內容。在四十年的藝術生產、中介和消費三大機制架構的藝術生態轉變中，台灣的藝術市場變遷軌跡也反應藝術生產的社會身分確認的轉換，中介機制規模從擴大到轉型的過程，以及私家收藏與生產、中介的互動關係。21世紀之後的台灣本土藝術生產與中介逐漸衍伸為兩岸三地、亞洲，乃至於拓展至歐美大陸的設想格局，無可避免地要面對以兩岸互動為中心的未來趨勢思考；回溯過往四十年的歷程，可以做為日後延續性的參照座標。

According to the observation and analysis of the local artistic ecology after the retrocession of Taiwan, 1992 is the change point year in which the qualitative change of Taiwan artistic ecology came about. The foundation of primary art market and private collection was being prepared during the former 20 years, while the local art market and artistic ecology showed a tendency of upgrading and transformation in the later 20 years. Taking the whole progress of 40-year-development into consideration, several art events happened in 1992 revealed the critical information of qualitative change, which caused the commercialization of art to become the critical contents of evaluating the artistic ecology of Taiwan. In the course of structuring the system of artistic production, intermediary and consumption, the transition path of Taiwan art market reflected the conversion of social identity of artistic production, the process of expansion and transition of intermediary system, as well as the interactive relationship among private collection, production and intermediary. In the 21st century, the ideal pattern of local artistic production and intermediary of Taiwan is to be extended to the China and Hong Kong, and even to the Europe and America, which inevitably have to face up to the challenge of taking cross-strait interaction into core consideration. The process of the 40-year-development of art market could be the best reference to the extensive thought of future tendency.