本文首先回顧現代藝術與哲學脈絡中，對於藝術品與物性的討論。文章並以哈曼提出的「藝術物」概念，延伸思索藝術品中那些蘊含著超出人類知覺、深藏且隱蔽、既屬於作品也不屬於作品、甚至與觀眾無關的東西。藉由這個視野，本文以晚近大眾影視娛樂文化與都市傳說類型當中，出現從文物展品與藝術品本身塑造超自然恐怖傳聞之相關文本進行分析。文章並從展示空間內部的觀看機制與藝術品的恐怖之間的關係，進一步探究《恐怖美術館》與《博物館驚魂夜》中，當觀者被迫進入非藝術甚至是一種非物的處境時，如何脫離了既有的美學與展示脈絡的觀看方式，也脫離了觀眾與藝術品的關係。最後，本文藉此反思晚近過於注重歷史幽靈與纏繞意涵的策展實踐，希冀提供另一種幽靈論述的潛能，作為藝術實踐與想像的差異路徑。

This paper first reviews discussions about artworks, thingness, and objecthood within the context of modern arts and philosophy. It then employs Graham Harman’s concept of the art object to advance debates about the things that are in artworks. Such things contain something which exists beyond human perception, is hidden and occult, and yet does not belong to the artwork at the same time. They may be things that do not even relate to the audience. From this perspective, this paper conducts textual analysis and selects the texts from recent movies, mass entertainment, and urban legends. These include cultural relics and artworks that are used to construct horrific rumors about the supernatural. Additionally, this study explores the relationship between the exhibition space and horror art to probe how the act of viewing within deviates from existing aesthetics and display. This paper also dissects the relationship between viewers and artworks in the game of Horror Museum and the movie Night at the Museum, explicating how viewers are forced to enter the dimension of non-art or even non-thing/non-object. Finally, this paper reflects on the current popular discussions which focus too much on historical specters and overemphasize entanglements. It aims to provide an alternative understanding about specters and, thus, a different path for artistic practices and imagination.