本文以「重現行動」（re-enactment）為主題，探索這個概念如何替藝術史教學方式與當代藝術展演現場，提供值得關注的歷史回訪策略。在前半段，本文首先指出重現行動能讓原本抽象而疏離的歷史知識，與鮮活的親身體驗相互疊合，繼而賦予過去事件一個新的感性介面。在後半段，則藉由若干當代作品案例說明，重現行動的基本策略是以體現（embodiment）取代再現，以直接參與取代間接閱讀。它不只仰賴堅實的客觀史料考掘，同時也催化著參與者的個人化想像及感受，因此可說是一種唯有通過身體才能具現化的特殊實踐形式。藉此，本文試圖指出，作為一個新興領域，重現學（reenactment studies）的討論已橫跨歷史學、考古學、音樂學、戲劇學、電影及媒介研究，乃至於當代藝術與策展實踐，不僅充分展現跨學科的潛能，單純就藝術史書寫的角度來看，也具備不容忽視的研究價值。

With the theme of “re-enactment,” this essay explores how this concept can provide a noteworthy strategy of historical revisiting for both art history teaching and contemporary art exhibition. In the first half of the essay, we begin by arguing that re-enactment allows abstract and detached historical knowledge to be overlapped with vivid personal experiences, thus giving a new sensible interface to past events. In the second half of the essay, some contemporary works are used to illustrate that the basic strategy of reenactment is to replace representation with embodiment and indirect reading with immediate participation. It relies not only on solid historical evidence, but also aims to stimulate the personal imagination and feelings of the participants, making it a special form of practice that can only be actualized through the body. In this sense, we attempt to point out that, as an emerging field, reenactment studies has been discussed across history, archaeology, musicology, theater, film and media studies, and even contemporary art and curatorial practice, not only demonstrates the full potential of interdisciplinarity, but also holds a research value that cannot be ignored from the perspective of art historiography.