柯爾達是二十世紀初期第一位以藝術成就贏得國際聲望的美國藝術家，最具代表性的藝術風格是「活動雕刻」。本文借用哲學家昆恩的「典範轉移」理論，分析活動雕刻中在藝術史典範轉移的角色及其所蘊含的美學特質。在空間典範的轉移方面，傳統繪畫的透視法空間形成了近代「空間幻覺」的典範；而傳統雕刻則形成「佔有真實空間」的典範。活動雕刻是二十世紀重要的「構成式」雕刻技法，它以金屬線所形成的輪廓與空間，成功地呈現出「虛擬體積」；而柯爾達中晚年的大型活動雕刻作品更走向戶外公共空間，則呈現了更大的空間意識。從柯爾達活動雕刻的演變中可看出：從傳統的「佔有空間」發展到當代的「界定空間」，再演變到「現場空間」環境雕刻，形成雕刻空間典範轉移的三部曲。
在時間典範的轉移方面，傳統藝術以「連環畫」的觀念形成主要的時間典範，但無「實際的時間」表現。柯爾達的「懸吊式」的活動雕刻把握了「對象物移動的繼時性空間」，藝術家不再移動自己的視點來觀察雕刻，而是觀察雕刻作品在時間中移動的樣態，因此柯爾達稱之為「四次元的描繪」。活動雕刻圍繞著「懸掛點」做旋轉運動，將360度的面貌逐漸地呈現在觀者面前，將傳統「以雕刻作品為中心」的典範轉移成為「以觀者為中心」的典範。在運動典範的轉移方面，傳統雕刻表現出「運動印象」的典範，而沒有表現出實際的運動。二十世紀藝術家開始在藝術品中裝設動力裝置，表現出週期性運動。柯爾達活動雕刻則更推進一步，表現運動的「不可預測性」。使雕刻從「運動印象」發展到「週期性運動」，再演變到「混沌的運動」，形成雕刻運動典範轉移三部曲。
柯爾達活動雕刻還表現其他諸多的美學特質。例如，活動雕刻被歸類為抽象藝術，造形的來源，主要仍是動物、植物和宇宙天體的意象為主，由於不願意再表現「實體的幻覺」，活動雕刻面臨當代藝術從具象到抽象的典範轉移。另外，當代藝術也激發活動雕刻探索和實驗非傳統的材料的動機。最後，本文探討活動雕刻出現於藝術史之後，眾多新的活動雕刻家如何承先啟後。而1950年代之後，動態藝術的興起更將當代雕刻推向另一新的典範；其中光雕刻、虛擬雕刻和錄影藝術等技巧，使得空間、時間和運動觀念的發展，最後更演進到「非實體、非物質性」的雕刻典範。

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