H. Marcuse曾說，「藝術的使命是傳達批判的自由觀，這種自由既源於感官的淨化。也源於對主導社會秩序的具體否定; 藝術的使命，是喚起感覺、體驗及行動的另類視野，以促進社會的改變。」社會參與式的藝術創作，在過去幾年成為一個廣受注目的藝術形式，政策面上的動力來自於2006年起文建會所推動的「公共空間藝術再造補助計畫」，到2008年改為「藝術介入公共空間補助計畫」，促成藝術家與社區合作，以藝術做為平台，共同與居民一起進行公共空間的改造與提升。就藝術家的立場而言，社會實踐式的藝術創作，發揮了民主社會中公民參與的精神，以及藝術創作本身的創新與革命意義。然而，如此充滿創意的社會實踐方式並不單純，既涉及了藝術家/社群/政府不同的立場與態度，也挑戰諸多既定的傳統觀念與行動邏輯，在激發出創新文化之餘，更製造出深刻的衝突與反思議題。藝術學界與社區營造等相關學門，對此等議題已有相當的探討，但是社會學者較少系統性的涉入。而藝術的社會實踐課題，實則牽涉諸如社會網絡、公共領域與公共論述、社會溝通、社會變遷與社會運動等重要的社會學課題，也反映不同領域行動者的磨合與互動過程，亦是藝術社會學所關心的跨領域社會現象。國內藝術家的社會實踐案例已有一定的累積，但是理論方面仍處建構的過程，也欠缺與社會科學深入的對話。

H. Marcuse once said, "The mission of art is to convey a critical view of freedom, which stems both from the purification of the senses. It also stems from the concrete negation of the dominant social order; The mission of art is to evoke alternative visions of feeling, experience and action in order to promote social change. "Socially participatory artistic creation has become a widely-received art form in the past few years. The policy impetus comes from the Cultural Affairs Bureau since 2006. The "Public Space Art Reconstruction Subsidy Program" promoted by the club was changed to the "Art Intervention Public Space Subsidy Program" in 2008, which promotes cooperation between artists and the community, using art as a platform to jointly transform and upgrade public spaces with residents. From the artist's standpoint, social practice-based artistic creation brings into play the spirit of citizen participation in a democratic society, as well as the innovative and revolutionary significance of artistic creation itself. However, such a creative social practice method is not simple. It not only involves different positions and attitudes of artists/communities/governments, but also challenges many established traditional concepts and action logic. In addition to stimulating a culture of innovation, it also creates profound conflicts and reflection issues. Art academia, community building and other related disciplines have already discussed these issues quite a bit, but social scholars have rarely been systematically involved. The social practice issues of art actually involve important sociological issues such as social networks, public spheres and public discourses, social communication, social changes and social movements. They also reflect the integration and interaction process of actors in different fields, and are also cross-field social phenomena that the sociology of art is concerned about. Domestic artists' social practice cases have been accumulated to a certain extent, but the theory is still in the process of construction, and there is a lack of in-depth dialogue with social sciences.

1. Grant H.Kester, 2004, Conversation Pieces: Community+Communication in Modern Art. California: University of California Press. 中譯本：吳瑪悧、謝明學、梁錦鋆譯，2006，《對話性創作：現代藝術中的社群與溝通》。台北：遠流。
2. Suzanne Lacy, 1995, Mapping the Terrain: New Genre Public Art. California: Bay Press.中譯本：吳瑪悧等譯，2004，《量繪形貌：新類型公共藝術》。台北：遠流。
3. 吳瑪悧編，2007，《藝術與公共領域：藝術進入社區》。台北： 遠流。
4. 鄭慧華編，2009，《藝術與社會：當代藝術家專文與訪談》。台北：台北市立 美術館。eBook: http://praxis.tw/publish/
 

1. Grant H.Kester, 2004, Conversation Pieces: Community+Communication in Modern Art. California: University of California Press. Chinese translation: Translated by Wu Mali, Xie Mingxue, and Liang Jinjun, 2006, "Conversation Pieces: Community and Communication in Modern Art." Taipei: Yuanliu.
2. Suzanne Lacy, 1995, Mapping the Terrain: New Genre Public Art. California: Bay Press. Chinese translation: Translated by Wu Mali et al., 2004, "Mapping the Terrain: New Genre Public Art." Taipei: Yuanliu.
3. Wu Mali, ed., 2007, "Art and the Public Sphere: Art Enters the Community". Taipei: Yuanliu.
4. Zheng Huihua, ed., 2009, "Art and Society: Essays and Interviews with Contemporary Artists". Taipei: Taipei Fine Arts Museum. eBook: http://praxis.tw/publish/