本篇論文旨在延續二○○二年「羅伯特．史密森地景藝術之研究」碩士論文中尚未詳加探討的各項議題：包括廿世紀藝評對藝術作品的界定，藝術家工作場域的轉換以及藝術家本身所兼具的創作、策展、行銷等多重角色。有關前者的研究，由柏拉圖開始即廣受評論者們的關注，而本文擬透過史密森豐富的文字撰述，試證美術創作者的書寫不但可補充其實際展示之匱乏，亦可獨立於外，成為另一種即將成形的創作，為藝術品提供新的定義。其次，在此推論過程中，因為藝術品陳設位置的改變，也連帶地將藝術家的工作場域從博物館擴充至任何地點，並對藝術作品的視覺呈現催生各種新的可能，故創作者所利用的空間也將列入討論。最後，由作品的製造與發展模式中，亦可探究藝術家的身分在構思、計劃、執行等各階段肩負的任務。

I. 中文專論
劉文潭，1992，《藝術品味》，台北市：台灣商務印書館。
1997，《現代美學》，台北市：台灣商務印書館。
1998，《新談藝錄》，台北市：時英。
2004，《美學新鑰》，台北市：台灣商務印書館。
劉文潭譯，1981，Wladyslaw Tatarkiewicz原著，《西洋古代美學》，台北市：聯經。
1989，Wladyslaw Tatarkiewicz原著，《西洋六大美學理念史》，台北市：聯經。
黃光男，2003，《博物館能量》，台北市：藝術家。
1998，《美術館廣角鏡》，台北市：藝術家。
1997，《美術館行政》，台北市：藝術家。
1995，《文化採光》，台北市：聯合文學。
II. 羅伯特．史密森專論
Alberro, Alexander and Norvell, Patricia, ed. 2001. Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia. Berkeley, Los Angeles, and London: University of California Press.
Bargellesi-Severi, Guglielmo, ed. 1997. Robert Smithson Slideworks. Italy: Carlo Frua.
Blistne, Bernard, ed. 1994. Robert Smithson,Une retrospective: Le paysage entropique 1960-1973. Marseille: Muses de Marseille-Runion des Muses Nationaux.
Bumann, Klaus/ Gether, Christian/ Tacke, Michael. 1989. Robert Smithson:Zeichnungen aus dem Nachla/ Drawings from the Estate. Mnster: Westflisches Landesmuseum fr Kunst und Kulturgeschichte.
Flam, Jack, ed. 1996. Robert Smithson: The Collected Writings. Berkeley, Los Angeles, and London: University of California Press.
Gilchrist, Maggie/ Lingwood, James/ Larson, Kay. 1993. Robert Smithson, Una retrospectiva 1960-1973：El Paisaje Entrpico. Valenciana: IVAM Centro Julio Gonzalez.
Hobbs, Robert. 1980. Robert Smithson: Sculpture. Ithaca: Herbert F. Johnson Museum of Art.
Hobbs, Robert. 1981. Robert Smithson: Sculpture. Ithaca and London : Cornell University Press.
Hobbs, Robert. 1982. Robert Smithson: Retrospective. ARC, Muse d’Art Moderne de la Ville de Paris. Ithaca: Cornell University Press.
Ratcliff, Carter. 2001. The Figure of the Artist: Selected Essaysis. Cambridge University Press.
Roberts, L. Jennifer. 2004. Mirrored Travels: Robert Smithson and History. New Haven: Yale University Press.
Shapiro, Gary. 1995. Earthwards: Robert Smithson and Art After Babel. Berkeley, Los Angeles, and London: University of California Press.
Sobieszek, Robert A. 1993. Robert Smithson: Photo Works. Albuquerque and Los Angeles: Los Angeles County Museum of Art and University of New Mexico Press.
Tsai, Eugenie. 1991.Robert Smithson Unearthed: Drawings, Collages, Writings. New York: Columbia University Press.
III. 羅伯特．史密森的文章
“From the Walls of Dis.” 1959-61. In Robert Smithson Unearthed: Drawings, Collages, Writings. New York: Columbia University Press, 1991, pp.54-55.
“The Eliminator.” 1964. In The Writings of Robert Smithson, ed. Nancy Holt. New York: New York University Press, 1979, p. 207.
“Statement: Quick Millions. ” 1965. In Brian O’Doherty. Art’65: Lesser Known and Unknow Painters, Young American Sculptors—East to West, American Express Pavilion Catalogue, New York World’s Fair, p. 68.
“Donald Judd.” 1965. In 7 Sculptors. Philadelphia Institute of Contemporary Art Catalogue.
“The Cryosphere.” April 1966. In Primary Structures. Exhibition Catalogue, Jewish Museum, n. p.
“The Crystal Land.” May 1966. Harper’s Bazaar, no. 3054: pp. 72-73.
“Entropy and the New Monuments.” June 1966. Artforum 5, No. 10:26-31. And selection in Maurice Tuchman, ed. American Sculptures of the Sixties, Los Angeles: Los Angeles County Museum of Art, 1967, pp. 51-52.
“Interpolation of the Enantiomorphic Chambers.” 1966. In Art in Process: The Visual Development of a Structure. New York: Finch College Museum of Art, Contemporary Study Wing, n. p.
“Paragraph from a Fictive Artist’s Journal.” 1966. In Art in Process: The Visual Development of a Structure. New York: Finch College Museum of Art, Contemporary Study Wing, n. p.
“The Domain of the Great Bear.” Fall 1966. By Mel Bochner and Robert Smithson. Art Voice 5, no. 4:44-51.
“Response to a Questionnaire from Irving Sandler.” 1966. In The Writings of Robert Smithson, ed. Nancy Holt. New York: New York University Press, 1979, p. 216-217.
“The Shape of the Future and Memory.” 1966. In The Writings of Robert Smithson, ed. Nancy Holt. New York: New York University Press, 1979, p. 211.
“An Esthetics of Disappointment.” 1966. On the occasion of the“Art and Technology” show at the Armory. In Writings 1979, p.212.
“Sol LeWitt.” 1966. Dwan Gallery press release. In Writings 1979, p. 210.
“Quasi-Infinities and the Waning of Space.” November 1966. Arts Magazine 41, no. 1:28-31. Also in Writings 1979, pp. 32-36.
“The Artist as Site-Seer; or, A Dintorphic Essay.” 1966-67. In Tsai, pp. 74-80.
“What Really Spoils Michelangelo’s Sculpture.” 1966-67. In Tsai, pp. 71-73.
“Proposal for Earthworks and Landmarks to be Built on the Fringes of the Fort Worth-Dallas Regional Air Terminal Site.” 1966-67. In Tsai, pp. 69-70.
“Language to Be Looked At and/or Things to Be Read.” June 1967. Dwan Gallery press release. In Writings 1979, p. 104.
“Towards the Development of an Air Terminal Site.” June 1967. Artforum 6, no. 10:36-40. Also in Writings, pp. 41-47.
“Ultramoderne.” September/October 1967. Art Magazine 42, no. 1:31-33. Also in Writings 1979, pp. 48-51.
“Letter to the Editor.” October 1967. Artforum 6, no. 2:4. Also in Writings 1979, p.38.
“Some Void Thoughts on Museums.” November 1967. Arts Magazine 42, no. 2:41. Also in Writings 1979, p.58.
“From Ivan the Terrible to Roger Corman or Paradoxes of Conduct in Mannerism as Reflected in the Cinema.” 1967. In Writings 1979, pp.213-215.
“The Monuments of Passaic.” December 1967. Artforum 7, no. 4:48-51. Also in Writings 1979, pp. 52-57.
“What is a Museum?A dialogue with Allan Kaprow.” 1967. Arts Yearbook, pp. 94-107. Also in Writings 1979, pp. 59-66.
“Pointless Vanishing Points.” 1967. Also in Writings 1979, p.208.
“The Monument: Outline for a Film.” 1967, In Tsai, pp.81-82.
“Strata: A Geophotographic Fiction.” Fall/Winter 1967. Aspen Review, no. 8. Also in Writings 1979, pp. 129-131.
“A Museum of Language in the Vicinity of Art.” March 1968. Art International 12, no. 3:21-27. Also in Writings 1979, pp. 67-78.
“A Thing Is a Hole in a Thing It Is Not.” April 1968. Landscape Architecture 58, no. 3:205.
“The Establishment.” June 1968. Metro 14: n.p. Also in Writings 1979, pp. 79-80.
“Minus Twelve.” 1968. In Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: E. P. Dutton, pp. 402-406. Also in Writings 1979, p.81
“Nature and Abstraction.” 1968. In Writings 1979, p.219.
“Outline for Yale Symposium: Against Absolute Categories.” 1968. In Writings 1979, p.218.
“A Sedimentation of the Mind: Earth Projects.” September 1968. Artforum 7, no. 1: 44-50. Also in Writings 1979, p.82-91.
“Hidden Trails in Art.” 1969. In Tsai, pp.83-84.
“Untitled.” January 1969. 0 to 9. In Vito Acconci, ed. New York: Vito Acconci, n.p
“Aerial Art.” February-April 1969. Studio International 175, no.89:180-181. Also in Writings 1979, pp.92-93.
“Project: Overturning Rocks and Mirror Trails.” March 28, 1969. In Seth Singelaub, ed. One Month. New York: Seth Singelaub, n.p.
“Dialectic of Site and Nonsite.” April 1969. In Gerry Schum, ed. Land Art. Hannover: Fernsehgalerie, n.p.
“Incidents of Mirror-Travel in the Yucatan.” September 1969. Artforum 8, no.1:28-33. Also in Writings 1979, pp.94-103.
“Can Man Survive?” 1969. In Tsai, pp.85-87.
“Art and Dialectics.” 1970. In Writings 1979, p.219.
“The Artist and Politics: A Symposium.” September 1970. Artforum 9, no.1:39.
“Symposium.” 1970. In Earth Art. Exhibition Catalogue, Andrew Dickson White Museum of Art, Cornell University, n.p. Also in Writings 1979, pp.160-167.
“Strata: A Geophotographic Fiction.” Fall/ Winter 1970-71. Aspen, no.8. Also in Writings 1979, pp.129-131.
“A Cinematic Atopia.” September 1971. Artforum 10, no.1:53-55. Also in Writings 1979, pp.105-108.
“Untitled, 1971.”In Writings 1979, p.220.
“Art Through the Camera’s Eye.”c. 1971. In Tsai, pp88-92.
“Documenta 5: A Critical Preview.”Summer 1972. By Bruce Kurtz with a comment by Robert Smithson. Arts Magazine 46, no.8:31.
“Proposal, 1972.”（for reclamation of a strip mine in terms of Earth Art）. In Writings 1979, p.221.
“The Spiral Jetty.”1972. In Gyorgy Kepes, ed. Arts of the Environment. New York: G. Braziller, pp.222-232. Also in Writings 1979, p.109-116.
“Cultural Confinement.”October 1972. Artforum 11, no. 2:32. Also in Writings 1979, p.132-133.
“Untitled, 1972.” In Writings 1979, p.220.
“Frederick Law Olmsted and the Dialectical Landscape.”February 1973. Artforum 11, no.6:62-68. Also in Writings 1979, p.117-128.
“Gyrostasis.”1974. In Abram Lerner, ed. Hirshhorn Museum and Sculpture Garden Catalogue. New York: Harry N. Abrams, p.749. Also in Writings 1979, p.37.
IV. 地景藝術相關資料
Archer, Michael. 1997. Art Since 1960. London: Thames and Hudson.
Atkins, Robert. 1990. Art Speak. New York: Abbeville.
Baker, Kenneth. 1989. Minimalism. New York: Abbeville.
Beardsley, John. 1997. Earthworks and Beyond: Contemporary Art in the Landscape. New York: Abbeville.
1998. Earth Works and Beyond. New York: Abbeville.
Castello, Robert B, et al., ed. 1995. Random House Webster’s College Dictionary. New York: Random House.
Chilvers, Ian. 1999. A Dictionary of Twentieth-Century Art. New York: Oxford University Press.
Cirlot, J. E. 1962. A Dictionary of Symbols. Philosophical Library.
Frascina, Francis, and Jonathan Harris, ed. 1992. Art in Modern Culture: An Anthology of Critical Texts. London: Phaidon.
Godfrey, Tony. 1998. Conceptual Art. London: Phaidon.
Kastner, Jeffrey, ed. 1998. Land and Environmental Art. London: Phaidon.
Lippard, Lucy. 1973. Six Years: The Dematerialization of Art Object from 1966 to 1972. New York: Praeger.
Pertocoli, Domenico, ed. 1996. Art in Nature. Milano: Mazzota.
Sontag, Susan. 1989. On Photography, 1977. New York: Anchor-Doubleday.
Tiberghien, Gilles A. 1995. Land Art.（Green, Caroline, trans.）New York: Princeton Architectural Press.
Tomkins, Calvin. 1976. The Bridge and the Bachelors- Five Masters of the Avant-Garde. New York: Penguin Books.
Tuchman, Maurice, ed. 1967. American Sculptures of the Sixties. Los Angeles:Los Angeles County Museum of Art.
Wagenknecht-Harte, Kay. 1989. Site+ Sculpture: The Collaborative Design Process.New York: Van nostrand Reinhold.
Weilacher, Udo. 1996. Between Landscape Architecture and Land Art. (Gloth, Felicity, trans.) Boston: Birkhaeuser.
V. 其他相關資料
呂 明譯，1987，《熵—一種新的世界觀》，Riflkin, Jeremy/ Howard, Ted.上海：譯文出版。
黃麗娟譯，1991，《抽象表現主義》，Auping, Michael, ed.台北：遠流。
蕭秋梅譯，1999，《拯救地球和經濟的五大步驟》（How Environment Trends Are Reshaping the Global Economy），Brown, Lester R.台北：揚智文化。
劉雅琪，1998，《從工廠到神殿：荒廢地景的論述—以台金廠為例》，國立台灣大學建築與城鄉研究所碩士論文。
李雀惠，1999，《勞柏‧史密斯遜與大地藝術》（Robert Smithson and Land Art），國立藝術學院美術系碩士論文。
黃明媛，2001，《羅伯特．史密森地景藝術之研究》（Robert Smithson 1938-1973），國立台灣師範大學美術研究所碩士論文。
陳陵援，高惠蓉，〈能與能源〉，《科學發展》月刊，2004年1月，第373期，76～81頁。
Joslyn, Cliff A. “Semiotic Terms”, www.pespmcl.vub.ac.be/ SEMIOTER.html.（Ph.D in State University of New York at Binghamton）