羅伯特‧莫里斯（Robert Morris , 1931~）是少數在這五十幾年中，從來沒有將自己侷限在某一種形式語言中的美國或國際藝術家，他的作品注重表達互動性的空間關係，使用多元的媒材，甚至是他自己的身體。然而人們往往只思考他的作品本身而忽略他的創作整體觀念；或者只把他侷限在「最低限藝術」來討論。很少有人試著把他的視覺作品和他的文章連在一起，以及他眾多作品之間的關聯，更忽略他的作品在其他領域的相關性。根據莫里斯的創作理念就是「建立觀眾和作品的迎面交逢」，他認同梅洛龐蒂的喚醒知覺，而賦予了新雕塑不同的定義－即它不是單獨存在，而是可以讓我們察覺到我們自已的身體為知覺的主體，亦就是觀者如何和作品建立關係。本論文研究動機為探討莫里斯的作品在當代藝術中的跨領域特質，以及人、時間、空間在莫里斯作品中的內涵。
自從在最低限藝術年代中，莫里斯致力於將雕塑自抽象繪畫理論中解放，他將藝術作品作為一種行為的形式過程，解讀對觀者經驗所產生的影響。其次，他常以過多的哲學的「否定」論，建立在作品與觀眾之上的策略性，在他的作品「場域」裡始終拒絕被藝術史之敍述進行輕易的同化。再者從莫里斯一貫之作品中看到他所強調的衝突形式，始終關注在二元論的辯證上，表現出無限的對立與衝突概念。最後，本研究整理了自六○年代以來，許多研究者對於莫里斯作品解讀之分歧關鍵，以及莫里斯的作品帶給這個世代的省思。
本論文的研究方法著重於史料的考據和文獻的比較和探討，並分析觀念藝術家、梅洛龐蒂、現象學等影響現代主義乃至當代之哲學美學觀，如何隱藏在莫里斯的作品中。在結論中我們審視了莫里斯長期以來使用各種不同的媒材，企圖在創作中找到治療的途徑─亦即他所面對的永恆問題，身體的焦慮與執著－藝術家個人面對歷史上「人－身體－知覺」之處境。

Robert Morris (1931- ), in his 5 decades of sculpturing, is one of the few American or international artists who have never limited themselves to a particular style. He focuses on expressing mutual spatial relationships in his works, using a wide variety of mediums, even his own body. However, people usually explore his art forms and overlook the whole concept of his creations, or just regard his work as “Minimal Art.” Few people try to make the connection of his visual works to his written articles or try to figure out the relationship among his numerous works, not to speak of making the connection between his creative works and his many other fields. According to his concept, which is “to establish a face-to-face meeting between the viewer and the sculpture,” Morris identifies with Maurice Merleau-Ponty’s Perception. He endows his new sculpture with a different definition that “ it doesn’t exist alone.” It makes us aware that our body is the subject of our consciousness, namely, how the viewers establish a relationship with a work of art. The motivation of this study is to probe into the multi-field characteristics of the works of Robert Morris in contemporary art and his intensions in terms of people, time and space.

First, since the beginning of Minimal Art Morris has committed himself to liberating sculpture from the theory of abstract paintings – he makes art a form of the process of behavior from which he interprets its effect on the viewers’ experiences. Second, he uses too many philosophical theories of “negation” to establish the strategy between his works and the viewers; in his work “Field,” it rejects from its beginning to its end the criticisms stated in art history which tried to assimilate him. Moreover, from Morris’s works we can see the form of conflict he consistently emphasizes and the dialectics of dualism he obsesses himself with, embodying the conception of infinite confrontation and conflict. Finally, this study is to organize and demonstrate on the key factors of why, since the 1960’s, quite a few researchers have such diverse interpretations of Robert Morris’s works and the reflection his works bring to this generation.

The research method of this dissertation focuses on the verification of historical facts by comparing and examining related documents. It will also analyze conceptual artists, Merleau-Ponty, phenomenology and other factors which influenced modernism and contemporary aesthetics and how they are hidden throughout Morris’s works. The conclusion examines Morris’s long-term use of a variety of diverse mediums and his attempt to find the healing ways in the creations, namely, the question he will forever face, his anxiety and persistence of the body that every individual artist faces in their endeavor toward “ human – body – consciousness” in history.

參考文獻

一、 外文書目、期刊、展覽專輯

1. Antin David Antin, "Have Mind, Will Travel," Robert Morris: The Mind/Body Problem. New York: Solomon R. Guggenheim Museum, 1994.
2. Archer Michael, Art since 1960 , London: Thames and Hudson, 1997.
3. Ardenne, Paul,Art—L’age contemporain-Une histoire des arts plastiques a la fin du Xxe siecle. Paris, ed. du Regard,2008.
4. Baker Kenneth, Minimalism : Art of Circumstance, pub. Abbeville Press,USA,1988.
5. Battcock Gregory, Minimal Art: A Critical Anthology ,1968; Univ. of California, 1995. reprint.
6. Benjamin Walter,Illuminations, Pub.Schocken Books,NY.,1985.
7. Berger Maurice, Labyrinths: Robert Morris, Minimalism, and the 1960s, ,New York: Harper & Row, Publishers, Inc., 1989.
8. Berger Maurice, Minimal Politics: Performativity and Minimalism in Recent American Art , 1987
9. Berger Maurice, The Politics of experience: Robert Morris, Minimalism, and the 1960s, Dissertations, 1988.
10. Berger Maurice, Labyrinths; Robert Morris, Minimalism, and the 1960s. New York: Harper and Row, 1960,1st ed.
11. Bishop Claire, Installation Art,New York: Routledge Press, 2005.
12. Bourdieu Pierre , The Field of Cultural Production. Ed. Poetics.1983.
13. Blackburn Simon, Oxford Dictionary of Philosophy,Oxford New York: Oxford University Press, 1996.
14. Bourdon David, “Art Morris: II”, Village Voice, March 18，1965, II . Massachusetts: MIT Press, 1981.
15. Bryan-Wilson Julia Quinn , Art/Work : Minimalism , Conceptualism, and Aristic Labor in the Vietnam War Ear,1965-1975, dissertation Doctor of California , Berkeley , 2004 .
16. Buchloh Benjamin, "Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions," October 55.
17. Buchloh Benjamin, "Beuys: The Twilight of the Idol," Artforum, 18, 5, January 1980.
18. Burke Patrick and Venken Jan Van Der (ed.), Merleau-Ponty in contemporary Perspectives , Pub. Kluwer Academic publishers, MA,U.S. A.,1993.
19. Cabanne Pierre, L'Art du XXe siècle, Somogy, Paris, 1982.
20. Carl Andre, Carl Andre: Sculpture 1958-1974, Pub.Kunsthalle, Bern , 1975.
21. Carl Andre, “Carl Andre” in Dore Ashton, ed., Twentieth-Century Artists on Art New York: Pantheon Books, 1985.
22. Cerrito Joan and Grant Tina eds., Modern Arts Criticism. Vol.3 ,Detroit &: London: Gale Research Inc., 1993.
23. Chave C. Anna, “Minimalism and the Rhetoric of Power”, Arts Magazine, vol. 64, no.5, January 1990.
24. Charbonneaux Anne-Marie et Hillaire Norbert（eds.）, Oeuvre et lieu：essais et documents, Flammarion, 2002.
25. Colpitt Frances , Minimal Art: The Critical Perspective , Pub. University of Washington Press,1993.
26. Crimp Douglas, On the Museum k Ruins, Cambridge: The MIT Press, 1993.
27. Crowther Paul, Art and Embodiment, from Aesthetics to Self-Consciousness, New York: Oxford University press 1993.
28. Denvir Bernard etc., Histoire de l’art moderne, de l’impressionnisme à nos jours, Flammarion, Paris, 1989.
29. Dynes Wayne R., written communication to the author, New York, September 1998.
30. Eduardo Rubio,La Sculpture de Robert Morris de 1961-1978, Université de Paris I- Pantéon-Sorbonne, Dissertations, 1983.
31. Edward Lucie-Smith, Movement in art since 1945, Thames and Hudson, London, 1987.
32. Edward Lucie-Smith(ed.), Art today, Phaidon, London, 1995.
33. Edward Strickland, Minimalism：Origins, pub.1993. Indiana University Press ,September 1, 2000.
34. Ehrenzweig Anton, The Hidden Order of Art: A Study in the Psychology of Artistic Imagination, Berkeley, Los Angeles, London: University of California Press, 1967.
35. Eliade Mircea, A History of Religious Ideas, trans. Willard Trask, Chicago: University of Chicago Press, 1978.
La Prova del Labirinto , Milan: Jaca Book, 1969.
36. Foster Hal, ed., The Anti-Aesthetic: Essays on Postmodern Culture, Seattle: Bay Press, 1983.
37. Foster Hal,”The Crux of Minimalism”,Batchelo David ,Minimalism (Movements in Modern Art) Publisher: Cambridge University Press , 1997.
38. Foucault Michel, The Archaeology of Knowledge,New York: Pantheon, 1972.
39. Fried Michael,”Art and Objecthood”, Artforum 5:10,june1967.repr.in Gregory Battcock, ed. Minimal Art : A Critical Anthology,New York: Dutton,1968.
40. Fried Michael, Art and Objecthood: Essays and Reviews ,Chicago, IL: University Of Chicago Press; 1998., Stephen David Ross ed., Art and Its Significance, State University of New York Press, third edition, 1994.
41. Fry F. Edward, Museum of Contemporary Art, Chicago, 1986, and Newport Harbor Art Museum, Newport Beach; co-curated with Paul Schimmel, essays by Paul Schimmel, Robert Morris: Work of the Eighties (exh cat.)
42. Greenberg Clement,Ann Hindry(tra.) ,Art et Culture: Essais Critiques , MACULA, Beacon Press, Boston,1961.
43. Greenberg Clement, “Recentness of Sculpture”, 1967, reprinted in Minimal Art, ed. Battcock.
44. Greenberg Clement,” Avant-Garde：New Art in the Sixties”, The Collected Essays and Criticism, 4：Modernism with a Vengeance, 1957-1969, Publisher: University Of Chicago Press ,June 1, 1995.
45. Grenier Catherine(Textes) , Robert Morris à Maguelone : ed.ereme , 2003.
46. Harrison Charles & Wood Paul, eds., Art in Theory 1900-1990; an Anthology of Changing Ideas , Oxford,Blackwell,1992
47. Harvey, David. "Afterword." In The Production of Space. ed.by Henri Lefebvre. Translated by Donald Nicholson-Smith. Oxford, UK: Blackwell, 1991, pp. 425-432.
48. Herakleitos, On the Universe, trans. W. H. S. Jones, in Hippocrates, vol. IV Cambridge, Mass.: Harvard University Press, 1959.
49. Holliday T. Day(eds.) , Power：Its Myths and Mores in American Art 1961-1991 , Indianapolis Museum of Art, pub.Indiana University Press,1992.
50. Hopfe Lewis, "Hinduism" in Religions of the World , New York: Macmillan Inc., 1976.
51. Irving Sandler, Art of the Postmodern Ear –From the Late 1960s
to the Early 1990s , IconEditions, USA, 1996.
52. Jencks Charles, Post-modernism, Academy Edition, London, 1987.
53. Johnston Jill, "The Object," Village Voice, May 21, 1964, 12.
54. Jon Bird,”Minding the Body”,in rewriting Coceptual Art, ed.by Michael Newman and Jon Bird,London:Reaktion,1999.
55. Joselit David, American Art Since 1945,London: Thames & Hudson, 2003.
56. Judd Donald, “Special Objects”, Arts Yearbook 8, New York, 1965.
57. Judd Donald, "Black, White and Gray," Arts Magazine, March 1959,1964,1975.
58. Kaprow Allan, ‘The Shape of the Art Environment: How Anti Form is ‘Anti Form’?’ Artforum ,New York 6, no.10 ,summer 1968.
59. Karmel, "Minimalism and Sexual Metaphor: The Sculpture of Robert Morris".
60. Kaufmann Walter, Existentialism: From Dostoevsky to Sartre, New York: Penguin Books USA Inc., 1975.
61. Kaye Nick, Site Specific Art: Performance, Place and Documentation, ed.Routledge London ,1st pub 2000. .
62. Kierkegaard, The Concept of Dread, trans. W. Lowrie ,Princeton: Princeton University Press, 1957.
63. Kosuth Josepf, Art after Philosophy and After: collected writings, 1966-
1990, The MITPress,Cambridge, London,England,1991.
64. Krauss Rosalind, Passages in Modern Sculpture,1977; rpt. Cambridge, Mass.: MIT Press, 1981.
65. Krauss, Rosalind, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, Massachusetts: MIT press, 1977.
66. Krauss Rosalind, Richard Serra/Sculpture , New York: The Museum of Modern Art, 1986.
67. Krauss Rosalind, "Sculpture in the Expanded Field" in Hal Foster, ed., The Anti-Aesthetic: Essays on Postmodern Culture ,Seattle: Bay Press, 1983.
68. Krens Thomas(ed.), Robert Morris: The Mind/Body Problem, New York: Solomon R. Guggenheim Foundation, 1994.
69. Kozloff Max, “Nine in a warehouse: An ‘attack on the status of the object’” Artforum 7:6 , February 1969.
70. Kubler George, The Shape of Time: Remarks on the History of Things ，New Haven: Yale University Press, 1962.
71. Kwon Miwon, "One Place After Another: Notes on Site Specificity," October 80 (Spring).
72. Leepa Allen, “Minimal art and primary meanings”, The Challenge Of Modern Art, rpt. Publisher: Leepa Press ,March 15, 2007.
73. Linker Kate, Vito Acconci, New York: Rizzoli, 1994.Lippard Lucy, ‘New York Letter’, Art International 9:2 ,March 1965.
74. Lionel Richard, L'Aventure de l'Art Contemporain de 1945 à
Nos Jours. Editions du Chene, Paris, 2002.
75. Lippard Lucy R., “New York Letter”, Art International 9:2, March 1965.
76. Lippard Lucy R.,A Different War：Vietnam in Art . Whatcom Museum of History and Art, Washington , USA , 1990.
77. Low, D., Merleau-Ponty on Truth , Language , and Value” , Philosophy Today, Spring,2001.
78. Lussac Olivier, happening & fluxus, polyexpressivite et pratique concrete des arts, pub. L’Harmattan,Paris,2004.
79. Nietzsche Friedrich, The Birth of Tragedy and The Case of Wagner, trans. Walter Kaufmann , New York: Random House, Inc., 1967.
80. Norvell Patricia, " Morris, May 16, 1969," Recording Conceptual Art, ed. Patricia Norvell and Alexander Alberro, Berkeley, Los Angeles and London: University of California Press, 2001.
81. Marcuse Herbert, An Essay on Liberation ,Boston: Beacon Press, 1969.
82. Marzona Daniel(eds.), Art Minimal, TASCHEN,Berlin,2004.
83. Mc Fadden , Poter Jane , Pratices of Site : Walter de Maria and Robert Morris 1960-1977, dissertation Ph.D The University of Texas at Asutin.
84. Merleau-Ponty Maurice , L’Oeil et L’Esprit,ed.Gallimard, Paris,1964 .
85. Merleau-Ponty Maurice , "Le Doute de Cezanne", Sens et non-sens Paris, Nagel, 1966.
86. Merleau-Ponty Maurice , Phenomenology of Perception, trans. Colin Smith ,New York and London: Routledge & Kegan Paul, Ltd., 1962,2000. Phenomenologie de la Perception, Gallimard , Paris, 1945 .
87. Merleau-Ponty Maurice ,The Visible and the Invisible ,Followed by Working Notes,ed, Claude Lefort , (Tran.)Alphonso Lingis, Northwestern University Press ,1968.Le Visible et l’Invisible , Gallimard,Paris, 1964 .
88. Merleau-Ponty Maurice, The Primacy of Perception and Other Essays,ed. and Tran. By Edie. J.M.Northwestern University Press,1964.
89. Meyer James, Minimalism: art and polemics in the sixties, Yale University Press, New haven and London, 2001,2004.
90. Meyer Ursula,” The Eruption of Anti-Art”, in Battcock , Idea Art.
91. Meyer Ursula, “De-Objectification of the Object” Arts Magazine 43,Summer 1969, p.20.
92. Meyer James , Minimalism (Themes & Movements) , Publisher: Phaidon Press ,March , 2005.
93. Michelson Annette, "Robert Morris: An Aesthetic of Transgression," Robert Morns, exh. eat. Washington, D.C.: Corcoran Gallery of Art, 1969.
94. Millet, Catherine, L’art contemporain, Paris: ed. Flammarion, 1997.
95. Morris Robert, ”Art in America 77：II ”,November 1989.
96. Morris Robert , "Robert Morris: Formal Disclosures" Art in America, 88, 6,June 1995.
97. Morris Robert, Continuous Project Altered Daily: The Writings of Robert Morris, MIT Press, Cambridge , 1994.
98. Morris Robert, "Notes on Sculpture" Part 1 , Artforum 4, no. 6, February, Los Angeles, p.42-44; repris in Gregory Battcock, ed., Minimal Art: A Critical Anthology, Dutton, New York, 1968, p.222-228 et in Robert Morris, Continuous Project Altered Daily: The Writings of Robert Morris, MIT Press, Cambridge , p.1-10.
99. Morris Robert, “Notes on Sculpture , Part 2” , Artforum 5, no.2, October , Los Angeles, 1966, p.20-23; repris in Gregory Battcock, op.cit., p.228-235 et in Robert Morris, Continuous Project Altered: ..., op.cit., p.11-22.
100. Morris Robert, “Notes on Sculpture, Part 3: Notes and Nonsequiturs”, Artforum 5, no.10, June 1967, Los Angeles, p.24-29; repris in Robert Morris, Continuous Project Altered..., op.cit., p.23-40,1967.
101. Morris Robert ,”Notes on Sculpture, Part 4: Beyond Objects”, Artforum New York 7, no. 8 ,April 1969.
102. Morris Robert, “Anti Form” ,Artforum ,New York 6, no.8,April 1968.
103. Morris Robert, “Some Notes on the Phenomenology of Making: The Search for the Motivated”, Artforum ,New York 8, no.8,April 1970.
104. Morris Robert, "Cézanne's Mountains," Critical Inquiry, 24,Spring 1998.
105. Morris Robert, "Some Notes on the Phenomenology of Making: The Search for the Motivated," Artforum.9, April 1970.
106. Morris Robert, "Tar Babies of the New world Order," Robert Morris: Tar Babies of the New World Order, exh. Cat. Milano: Edizioni Charta, 1997.
107. Morris Robert, "Five Labyrinths," Robert Morris: A Path Towards the Center of the Knot,Pistoia: Fattoria di Celle, 1995.
108. Morris Robert interview, Conducted by Paul Cummings , March 10, 1968, Archives of American Art, Smithsonian Institution.
109. Morris Robert, "Passageway," Robert Morris ,New York: Abbeville Press, 1989.
110. Morris Robert, "The Art of Existence: Three Extra Visual Artists: Works in Process,".
111. Morris Robert, TELEGRAM/THE RATIONED YEARS ,Geneva: JRP Editions, 1998.
112. Morris Robert, "Writing with Davidson Some Afterthoughts after Doing Blind Time IV: Drawing with ," Davidson.
113. Morris Robert: The Mind/Body Problem-Robert Morris Monographies, Guggenheim Museum, Publications 1994, Centre Georges Pompidou, 1995.
114. Morris Robert, From Mnemosyne to Clio: The Mirror to the Labyrinth (1998-1999-2000), pub.Musée d'Art Contemporain de Lyon France.
115. Müller Gregoire, “Robert Morris Presents Anti-Form: The Castelli Warehouse Show” Arts Magazine 43:4 , February 1969 .
116. Müller Gregoire, The New Avant-Garde:Issues for the Art of the Seventies ,New York,Washington,London: Praeger Publisher , 1972 .
117. Peckham Morse, Man's Rage for Chaos: Biology, Behavior and the Arts,New York, Philadelphia: Chilton Books, 1965.
118. Pott Alex, The Sculptural Imagination: figurative, modernist, minimalist, New Haven: Yale University Press, 2000.
119. Relin Loiis , Robert Morris： L’Intellectuel et l’Art, Université de Paris I- Pantéon-Sorbonne, Dissertations, 1978.
120. Rendall Steven ,( trans.)Berkeley,The Practice of Everyday Life, Los Angeles, London: The University of California Press, 1984.
121. Rose Babara, "ABC Art," Art America 53,October-November 1965.
122. Rosenberg Harold, The De-definition of Art: Action Art to Pop to Earthworks , New York: Horizon Press, 1972.
123. Rubio Eduardo , La Sculpture de Robert Morris de 1961-1978 , Université de Paris I-Pantéon-Sorbonne, Dissertations , 1983 .
124. Siegel Jeanne , Artwords：Discourse on the early 80’s, Publisher: Da Capo Press , August 21, 1990.
125. Stiles and Selz, Theories and Documents of Contemporary Art, A Sourcebook of Artists' Writings ,California Studies in the History of Art ; 35, Publisher: University of California Press ,April 18, 1996 .
126. Strickland Edward, Minimalism: Origins, Indiana University Press, 1993.
127. Tsouti-Schillinger Nema , Robert Morris and Angst , pub.George Braziller, New York ,2000.
128. Tsouti-Schillinger Nena,Have I Reasons: Work and Writings, 1993-2007, edited by published by Duke University Press, March 30, 2008.
129. Wagstaff Samuel J. Jr, “Paintings to Think About”, Artnew 62:9,January, l964.
130. Wittgenstein Ludwig, Philosophical Investigations, New Jersey: Prentice-Hall, Inc., 1958.
131. Wollheim Richard, “Minimal Art”, Arts Magazine ,January 1965.
132. Yutang Lin(ed.), The Lord's Song ,The Bhagavad-Gita, trans. Swami Paramananda, The Wisdom of China and India, New York: Random House, 1942..
133. Yutang Lin (introduction), "Indian Piety", The Wisdom of China and India, New York: Random House, 1942.
134. After Modern Art 1945-2000 ,Oxford History of Art, by David Hopkins (eds.),2000.
135. Art Since 1900: Modernism, Antimodernism, Postmodernism, Volume 2: 1945 to the Present by Hal Foster (eds.)pub.Thames &Hudson,2004.
136. Conceptual Art: A Critical Anthology by Alexander Alberro and Blake Stimson , Aug 28, 2000.
137. Postmodern art : from the post-war to Today, Publisher: Collins Design , 2008.
138. The Anti-Aesthetic: Essays on Postmodern Culture, by Hal Foster(eds.) Publisher: New Press , 2002.

二、中文書目

139. 李雲飛等譯（2005），《多維視界中的維根斯坦（Wittgenstein Ludwig of Multiple Version）》，出版社：上海：華東師範大學出版。
140. 林從一著（2004），《思想‧語言‧社會‧世界－戴維森（Davidson）的詮釋理論》，出版社：台北，允晨。
141. 弗洛伊德(原作者：Sigmund Freud)，劉平等譯（2006），《達文西對童年的回憶》(Sigmund (1910c), Eine Kindheitserinnerung des Leonardo Da Vinci)，出版社：Portico，台北，知書房。
142. 姜宇輝著（2007），《德勒茲身體美學研究》，出版社：上海，華東師範大學出版。
143. 徐在新等著(1992)，從法拉第到麥克斯韋。出版社：北京：科學出版。
144. 孫振青著（2006），《笛卡兒》，出版社：台北，東大圖書。
145. 張大春（2003），《梅洛龐蒂》，出版社：台北：生智出版社。
146. 維根斯坦（Ludwig Wittgenstein）著，范光隷等譯（1992），《哲學探討》，出版社：台北，水牛。
147. Angeles Peter A. (2001)，段德智等譯，《哲學辭典》(The Harper Collins Dictionary of Philosophy)，出版社：台北，貓頭鷹。
148. Audi Robert 主編，(2002)，林正弘等審訂，《劍橋哲學辭典》(The Cambridge Dictionary of Philosophy)，出版社：台北，城邦文化事業股份有限公司。
149. Banes Sally (原著),華民等譯(2001)，《1963年的格林尼治村－先鋒派表演和歡樂的身體》(Greenwich Village 1963)，出版社：桂林，廣西師範大學。
150. Sister Wendy Beckett (原著)，王哲雄審定(1998)，繪畫的故事，出版社：台灣麥克。
151. Cabanne Pierre，《杜象訪談錄》(Dialogues with Marcel Duchamp)，張心龍譯(1986)，出版社：台北：雄獅圖書股份有限公司。Publisher: Da Capo Press (August 21, 1987)
152. Dermot Moran (2005)，蔡錚雲譯，《現象學導論》(Introduction to Phenomenology)，出版社：台北：國立編譯館與桂冠圖書公司。
153. Fredric R. Jameson, Postmodcmism, or, The Cultural Logic Late Capitalism.；詹明信著，吳美真譯，《後現代主義或晚期資本主義的文化與邏輯》，台北：時報，1998年，初版。
154. Battcock, Gregory著，連德誠譯，《觀念藝術》，台北：遠流，199年初版。
155. H. Read，賀伯、瑞德原著，《現代雕塑簡史》(Modern Sulpture: A Concise History (New York: Thames and Hudson, 1989)。

莫里斯相關專書

1978
Loiis Relin , Robert Morris： L’Intellectuel et l’Art, Université de Paris I-Pantéon-Sorbonne, Dissertations.
1983
Rubio Eduardo , La Sculpture de Robert Morris de 1961-1978 , Université de Paris I-Pantéon-Sorbonne ,Dissertations .
1987
Maurice Berger, Minimal Politics: Performativity and Minimalism in Recent American Art.
1988
Maurice Berger, The Politics of experience: Robert Morris, Minimalism, and the 1960s, Dissertations.
1989
Maurice Berger, Labyrinths: Robert Morris, Minimalism, and the 1960s, New York, Harper and Row.
1994
Robert Morris,Continuous Project Altered Daily: The Writings of Robert Morris, MIT Press, Cambridge.
1995
Meyer James ,The Genealogy of Minimalism: Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt and Robert Morris,Dissertations .
Robert Morris: The Mind/Body Problem-Robert Morris Monographies, Guggenheim Museum Publications 1994, Centre Georges Pompidou .
Gregory Battcock's popular Minimal Art: A Critical Anthology,1968; Univ. of California, 1995. reprint.
2000
Robert Morris, From Mnemosyne to Clio: The Mirror to the Labyrinth
(1998-1999-2000), Musée d'Art Contemporain de Lyon France.
Nema Tsouti-Schillinger , Robert Morris and Angst , pub.George Braziller,
New York.
Edward Strickland, Minimalism: Origins, Indiana University Press, 2000.
Shafto, Sally Gately , Ut pictura cinema: The strange adventure of Jean-Luc Godard (France, Nicolas de Stael, Robert Morris, Gerhard Richter)
The University of IOWA, Dissertations..
2001
James Meyer, Minimalism-Art and Polemics in the Sixties ,Yale university press new haven and London, 2001,2004.
2002
Spivey, Virginia Burns, Performing relationships: Gendered subjectivity in the art of Robert Morris, Case Western Reserve University, Dissertations.
2003
Robert Morris à Maguelone : Textes de Catherine Grenier , ed.ereme.
Paice, Kimberly Ann , Process art and pictoriality: Reading the work of Robert Morris, Richard Serra, and Robert Smithson , City University of New York , Dissertations.
2004
Jane Poter McFadden , Pratices of Site : Walter de Maria and Robert Morris 1960-1977, dissertation Ph.D The University of Texas at Asutin.
Julia Quinn Bryan-Wilson , Art/Work : Minimalism , Conceptualism, and Aristic Labor in the Vietnam War Ear,1965-1975, dissertation Doctor of California , Berkeley .
2005
James Meyer , Minimalism,Themes & Movements , Publisher: Phaidon Press.
2008
Have I Reasons: Work and Writings, 1993-2007, edited by Nena Tsouti-Schillinger , published by Duke University Press,2008..