在1950年后,当后现代主义艺术提出一切皆可以成为艺术的主张时,艺术摆脱了传统门类的限制,再一次融入生活的各个领域,如同初生一样,消解了艺术与非艺术的边界,罔顾巴托的努力,再一次脱离了所谓的美,但却没有回归到亚里士多德所认为的艺术是对自然的模仿的传统限定中,它实际上完成了一次艺术的大的发展。在自我消解原有的艺术门类界限,抛弃了艺术原有的技术评价标准基础上,把艺术最为重要的本质,想象力、 After 1950, when postmodernism proposed that everything could become an artistic proposition, art broke away from the restrictions of traditional categories and once again integrated into all fields of life. Like the firstborn, art dismissed the border between art and non-art, ignoring Barton’s efforts once again departed from the so-called beauty but did not return to Aristotle’s view that art was a traditional definition of imitation of nature and that it actually accomplished a major development in art. On the basis of self-dissolving the original boundary of art category and abandoning the original technical evaluation standard of art, the most important essence of art, imagination,