對於杜象藝術哲學的探討，多數人選擇從現成品的顛覆概念進行分析，藉以突顯其「無所謂」也「無所為」的反藝術哲學。實際上，任何東西看久了都會產生美感；當杜象的現成品開始被當成藝術品欣賞的那一刻，他反藝術的哲學就已經徹底失敗了。藝術與非藝術的論證，是個永遠無解的問題。
為了避免在一個其實並沒有隱藏什麼的作品裡尋找密碼，也不想淪入二元辨證的圈套，本文選擇杜象1911-1913年（提出現成品觀念之前）的繪畫為研究對象。那是他創作態度較嚴謹且渴望突破傳統、嘗試藝術轉型的重要階段。全文參考杜象本人創作札記、訪談資料和學者論著，藉由繪畫內容形式與創作理念的對照分析，試圖探究杜象如何以繪畫形式對藝術本質提出質疑？此形式構成的特色為何？如何引領繪畫進入超越視覺的四度空間？ Most researches on the art philosophy of Marcel Duchamp tend to analyze his subversive concept of ready-made to reflect his anti-art philosophy of indifference and inaction. In fact, the aesthetics of any object can all be generated once it has been appreciated for a long time. When Duchamp’s ready-made started to be appreciated as works of art, his philosophy of anti-art totally failed. The discussion over art and non-art is a question that can never be solved.
To avoid looking for codes which in fact are not hidden in Duchamp’s works or being trapped by the binary dialectic, the study chose the paintings of Duchamp during 1911-1913 (before he proposed the concept of ready-made) as research subjects. The period of 1911-1913 is an important stage in which he had more serious attitude towards creation, desired to make a breakthrough of traditional concept, and tried to transform his art. The study tried to investigate how Duchamp cast doubts over the nature of art through his painting form, what the structural characteristics of this painting form were, and how this painting form guided painting into the fourth dimension beyond the vision by consulting Duchamp’s personal creation notebook, interview documents, treatises of scholars, comparative analysis on the form of painting and ideas for creation.
