《图像学:视觉艺术的意义与解释》共分九章。第一章是导论。第二章是对图像意义研究历史的引介与相关课题的陈述。第三章介绍图像学的成立根据，说明早期图像学实践者如何一步步的建立起图像的象征关系。第四章是对传统图像学的核心问题：“象征”意义与“拟人图像”的厘清。第五章开始讨论现代图像学，先以帕诺夫斯基的艺术学为论述主轴。交代了帕诺夫斯基的康德学立场，以及他的艺术学观点和图像学方法。第六章说明他影响深远的图像学阐释方法，第七章讨论当代图像学的发展和图像转向后的各种艺术议题。第八章浅谈新艺术史与图像转向后的艺术史书写与诠释问题，对图像学、图像科学和视觉文化的基本动向提出原则性的区分。第九章当赛伦停止歌唱——图像诠释的起源，企图通过两篇相当经典的卡夫卡笔记，并且随顺着柏拉图、笛卡尔、卡尔维诺到海德格尔的一系列发问，说明图像对当代诠释者所可能产生的挑战。

Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's readymades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "this is art." De Duve employs this shift (replacing the word "beauty" by the word "art") in a rereading of Kant's Critique of Judgment that reveals the hidden links between the radical experiments of Duchamp and the Dadaists and mainstream pictorial modernism.Part I of the book revolves around Duchamp's famous/infamous Fountain. Part II explores his passage from painting to the readymades, from art in particular to art in general. Part III looks at the aesthetic and ethical consequences of the replacement of "beauty" with "art" in Kant's Third Critique. Finally, part IV attempts to reconstruct an "archaeology" of modernism that paves the way for a renewed understanding of our postmodern condition.The essays : Art Was a Proper Name. Given the Richard Mutt Case. The Readymade and the Tube of Paint. The Monochrome and the Blank Canvas. Kant after Duchamp. Do Whatever. Archaeology of Pure Modernism. Archaeology of Practical Modernism.

《美术史的基本概念——后期艺术风格发展的问题》是整个二十世纪美术史的三部核心经典之一，不仅美术史读者必读，也是其他人文学者的必读书，它对二十世纪美术史研究体系的构建产生了巨大而深远的影响。在二十世纪的西方学术界，除了贡布里希的《艺术的故事》，没有哪一部美术史著作能够望其项背；它在中国的影响，也超过了任何一部美术史或者美学方面的著作。