在《现代主义之后的艺术史》第十一章《新美术馆中的艺术史:寻找自身面孔的努力》的下半部分,汉斯·贝尔廷以媒体艺术家加里希尔(GaryHill)的展览为例描述了电脑以及以电子媒体为手段,并可以超越场域和时间的物理载体而作为电子图像存在的艺术创作,对于美术馆原有的收藏和展示理念所产生的挑战。贝尔廷写道,“唯有艺术史的时间统领着艺术作品的个别时间,唯有艺术史本身是普遍有效的,艺术品不具备这种能力。因此,人们发明了一个地方,可以让所有的艺术分享艺术的普遍原则:这个地方就是美术馆。”加里·希尔的创作在“真实的展览空间中产生了以时间为基点的、非物质形态的观看空间,无法拍摄,也无法用文字描述。”“博物馆的收藏原则和电脑的存储原则来自于不同的时代,却在当代同时并存 In the second half of ”Art History in New Art Galleries: Efforts to Find One’s Face,“ in Chapter XI, ”Art History Behind Modernism,“ Hans Birtin presented the exhibition by media artist Gary Hill An example describes the computer and the artistic creation of electronic images that use electronic media as a physical medium that can transcend the field and time, presenting the challenge of the museum’s original collection and display philosophy. Bertin wrote, ”The only time in the history of art is the individual time of the work of art, and the history of art itself is universally valid, and works of art do not have that capacity, so one has invented a place where all The Art of Sharing The Universal Principle of Art: The Place is a Museum of Art. “Gary Hill’s creation creates a time-based, nonphysical viewing space in the real exhibition space that can not be shot nor can it be Described in text. ”" The museum’s collection principles and computer storage principles come from different times, but coexist in contemporary