早期台灣畫廊的經營者，多是美術系所畢業或研習美術相關者。當時因畫廊尚未形成一個產業，經營者因為擁有人脈和資源，彼此集中性高，所以在經營管理上趨向封閉，集中與被動。 八零年代當國內經濟的自由繁榮發展，台灣社會對藝術的需求漸增而促使畫廊產業化時，就關鍵性地決定了台灣畫廊業是「需求導向」的產業。由於是需求市場導向，各家畫廊買賣交易的畫作內容就容易呈現相當的一致性，於是畫廊紛紛投入經營本土藝術家。到九零年代達競爭激烈，然後到了千禧年後隨市場焦點的轉移到中國當代、亞洲當代、和台灣當代藝術的經營，擴大的經營區塊使台灣畫廊業面臨許多考驗。其經營模式從被動走向主動，從被動式提供展覽場地到積極規劃畫廊內展覽，積極介紹推銷畫作，建立收藏家名單，畫廊之間彼此競爭。這批台灣畫廊第一代經營者的模式，主要著眼於強調培養並建立與本土藝術家如同家人般緊密的人際關係，憑靠長期積累建立的關係以人情價取得作品，再參考二手拍賣市場，以當時屢屢升溫的行情價向收藏家賣出。 中國熱在全球發酵，中國藝術家成為新收藏標的，藝術市場的規模及消費能力一躍千里。本研究的目的是先分析藝術家、畫廊、收藏家、拍賣公司、美術館及學術界之間的微妙關係，更進一步的幫助畫廊找到其關鍵核心能力，建立畫廊品牌並且鞏固自己的人脈。最後探討台灣畫廊如何面對亞洲藝術市場的成長，順應趨勢來調整方向？哪些異質性創新決定了畫廊競爭力？及如何運用策略性思考達到永續經營的方向？ / Prior to the 1980s, art galleries are mostly owned and run by arts students and practitioners. In those days, galleries have not developed as an economic sector. Their business was heavily relying on the owners' personal resources and connections. It was therefore inward focused in management and outlook. Demand for art works increased as Taiwan's economy prospered since the 1980s. It has led to the industrialization of galleries in Taiwan, fundamentally defined it as a "demand-orientated" sector. Because of this demand-orientated nature of the sector, art works that form the subject matter for the sales by the galleries have become similar across the sector. Galleries have therefore striven to scout for local artists whose works may be marketable. Competition within the sector has turned fierce as it evolved into the 1990s. And, as the sector went into the 2000s, with the opening of the market in mainland China and elsewhere in Asia, focus of Taiwan's galleries has further expanded. The way galleries are run have evolved from passive to active business development. Exhibitions, promotional tours, and formation of collectors' groups and lists abound. Competition is intense. This is markedly different from and more transparent the way of the first-generation of these galleries, which relied often solely on personal connections and a model in which profits are taken from the gap between the secondhand market and that among the private collectors. In recent years, works by mainland Chinese artists have been sought after extensively. The economy of scale of the market for art works and the financial resources devoted to such market have multiplied. This research studies the delicate relationship among artists, galleries, collectors, auctioneers, museums and the academia. It is hoped that this research will help Taiwan's galleries in their development of core competency and network . Last but not least, this research also seeks to explore questions such as how Taiwan's galleries can benefit from the growth of Asia's market for art works, what features are to determine galleries' competitiveness, and how such features and strategic planning can help achieve sustainable trading?