據(jù)國家文物局調(diào)查顯示，截至2018 年底，我國高校博物館的實(shí)際數(shù)量已經(jīng)超過300 座。這反映了高校逐步加深文化內(nèi)涵建設(shè)的需要，也與近年來不斷增強(qiáng)的博物館、美術(shù)館熱潮息息相關(guān)。大學(xué)博物館一方面作為校內(nèi)師生開展“基于物的研究”的試驗(yàn)場反哺教學(xué)，一方面也身兼公共博物館的職能，面對著如何擴(kuò)大社會(huì)影響力的挑戰(zhàn)。

以藝術(shù)博物館（美術(shù)館）為例，由于美術(shù)史學(xué)科建設(shè)與美術(shù)館展覽、收藏的密不可分，1.巫鴻：《美術(shù)館與美術(shù)史》，《讀書》，2007 年第3 期。大學(xué)美術(shù)館作為整合藝術(shù)物與史論研究、連接學(xué)者與公眾的過渡地帶，起到了中間斡旋的關(guān)鍵作用。上世紀(jì)七十至八十年代以前，許多歐美的重要美術(shù)館都設(shè)在大學(xué)內(nèi)部，它們在學(xué)院的視覺藝術(shù)教育中具有舉足輕重的地位，并成為藝術(shù)家、學(xué)者、策展人的先鋒實(shí)驗(yàn)基地。

《大學(xué)為何需要博物館？》是杜克大學(xué)納希爾藝術(shù)博物館第一任館長金茉莉 · 羅夏克（Kimerly Rorschach）于2004 年博物館成立之際所做的演講。在演講中，羅夏克從自身經(jīng)歷談及大學(xué)藝術(shù)博物館對其職業(yè)生涯的塑造，并回顧了美國大學(xué)博物館的發(fā)展歷程與值得被記住的范例。從中我們可以看到，大學(xué)美術(shù)館的職能轉(zhuǎn)變與公共美術(shù)館的發(fā)展休戚相關(guān)，其中既包含美術(shù)館與美術(shù)史學(xué)之間的幾度合作與分離，也映射出公共美術(shù)館在不斷企業(yè)化的進(jìn)程中向大眾的逐步走近。

《大學(xué)美術(shù)館的角色與定位》是美國大學(xué)藝術(shù)聯(lián)盟（College Art Association，簡稱CAA）于2006 年召開的一次圓桌會(huì)議的記錄，會(huì)議由美國幾所高等教育機(jī)構(gòu)下屬美術(shù)館的18 位負(fù)責(zé)人參與。這些美術(shù)館從業(yè)者在各自機(jī)構(gòu)截然不同的發(fā)展階段（從剛剛起步到相對成熟）投入到對美術(shù)館的建設(shè)中，對自身面臨的具體問題作出了十分詳盡的陳述與分析，其中包括：藏品匱乏、人員不足、交通閉塞……而這些也是當(dāng)下我國高校美術(shù)館，甚至是許多不太成熟的公共美術(shù)館正在面對的問題。從這次對談中我們也可以看到，高校美術(shù)館不僅僅是學(xué)院基礎(chǔ)教育設(shè)施的補(bǔ)充，也是整個(gè)美術(shù)館行業(yè)甚至藝術(shù)生態(tài)中不可或缺的一部分，它們在探索新的藝術(shù)形式、策展方法、培養(yǎng)藝術(shù)愛好者上扮演著重要的角色。

羅夏克在文中提到，自20 世紀(jì)七八十年代興盛的“巨型展覽”（blockbuster）時(shí)代使大學(xué)博物館更加有意識地在展覽活動(dòng)與其他事物上開始與外部觀眾建立聯(lián)系?！肮姷拿佬g(shù)館還是大學(xué)的美術(shù)館？”一直是大學(xué)美術(shù)館從業(yè)者在實(shí)踐中無法回避的問題，一如公共美術(shù)館在學(xué)術(shù)與流量之間日益謹(jǐn)慎的權(quán)衡利弊，盡管二者有時(shí)并非那么水火不容。CAA 會(huì)議中18 位負(fù)責(zé)人的對談使人看到大學(xué)美術(shù)館應(yīng)該具備的更多批判性和前沿性—這也是大學(xué)美術(shù)館的特殊之處。引用羅夏克的話來說：“大學(xué)藝術(shù)博物館可以做到很多大型市立博物館做不到的事，并且這些事應(yīng)該且必須由它們來做?！眹@大學(xué)美術(shù)館開展的討論放大了美術(shù)館在學(xué)術(shù)建設(shè)方面的思考，也為我們在“巨型展覽”依舊興盛的今天帶來了更多反思。

According to the survey by the State Administration of cultural relics, by the end of 2018, the actual number of university museums in China has exceeded 300. This is not only the need of deepening the construction of cultural connotation in Colleges and universities, but also closely related to the increasing upsurge of museums and art galleries in recent years. University Museum, on the one hand, serves as an experimental field for teachers and students to carry out "object-based research", and on the other hand, it also serves as a public museum, facing the challenge of how to expand its social influence.

Taking the Art Museum as an example, because the discipline construction of art history is closely related to the exhibition and collection of Art Museum, the university art museum plays a key role in mediating as the transition zone of integrating art objects and historical research, connecting scholars and the public. Before the 1980s, many important art galleries in Europe and the United States were located in universities. They played an important role in the visual art education of the college, and became pioneer experimental bases for artists, scholars and curators.

Why Do Universities have Museums？It was a speech by Kimerly Rorschach, the first curator of the Nasher Museum of art at Duke University, on the occasion of the museum's founding in 2004. In her speech, rorschack talked about the shaping of her career by the University Rorschach, Art Museum from her own experience, and reviewed the development process of American University Museum and the examples worth remembering. From this, we can see that the function transformation of University Art Museum is closely related to the development of public art museum, which not only includes the cooperation and separation between art museum and art history, but also reflects the gradual approach of public art gallery to the public in the process of continuous enterprise.

The Role of the University Art Museum and Galleryis the record of a round table meeting held by the College Art Association (CAA) in 2006. The meeting was attended by 18 heads of art galleries affiliated to several American higher education institutions. These art gallery practitioners have devoted themselves to the construction of art galleries at different stages of development (from just starting to relatively mature), and have made a very detailed statement and analysis of their specific problems, including: lack of collection, shortage of personnel, traffic congestion...These are also the problems faced by art museums in Colleges and universities, and even many immature public art galleries in our country. From this conversation, we can also see that the university art museum is not only a supplement to the basic education facilities of the college, but also an indispensable part of the whole art gallery industry and even the art ecology. They play an important role in exploring new art forms, curating methods and cultivating art lovers.

In her article, Rorschack points out that the era of blockbuster, which flourished in the 1970s and 1980s, has made university museums more consciously establish contact with external audiences in exhibition activities and other things. "Public art gallery or university art gallery？" It has always been an unavoidable problem for university art gallery practitioners in practice, just as public art museums are increasingly careful to weigh the pros and cons between academic and flow, although sometimes the two are not so incompatible. The conversation among the 18 persons in charge of the CAA meeting made people see that the university art museum should have more critical and cuttingedge characteristics, which is also a special feature of university art museum. To quote Rorschack: "University art museums can do many things that large municipal museums can't do, and they should and must do them." The discussion around the university art gallery enlarges the museum's thinking on academic construction, and also brings us more reflection in today's "blockbuster" still flourishing.