現代藝術經歷抽象表現主義、普普藝術、最低限藝術等藝術流派，1980年代象徵一個新的轉形期，其中凱斯˙哈林是最受矚目的年輕藝術家之一，以地鐵車站廣告看板的塗鴉繪畫為人所熟知，而「璀璨的嬰孩」則是哈林的代表圖像，是他在塗鴉文化領域的個人標誌。然則紐約的塗鴉藝術原本指稱1960年代末到1980年代中期，青少年在城市建築物和地鐵系統以噴漆或簽字筆書寫名字的風潮，有其綿密的人際網絡以及潛在的社群結構，以至於現有哈林的文獻資料與探討塗鴉藝術的論述未能產生交集，對於兩者的互動及影響層面缺乏完整表述。
基於藝術史的學科本位，本研究旨在結合哈林相關研究與塗鴉藝術環境史，一方面分析哈林的塗鴉風格、圖像意義、以及哈林藝術語言背後蘊藏的時代精神，另一方面透過嚴謹的形式分析探討塗鴉者的風格品質及其創作與生活型態，呈現塗鴉者對造型藝術的高度興趣與自覺，再串聯至現代藝術史論述以及對當時紐約藝術世界生態與社會情境的研究，透過哈林這一位受過學院藝術教育的藝術家，由於心儀塗鴉藝術而加入街頭、地鐵的創作行列，其中「璀璨的嬰孩」圖像是他切入塗鴉藝術的關鍵，帶動塗鴉藝術後期的轉變。在八○年代中期塗鴉藝術由於哈林為首的塗鴉藝術家對於藝術家身份的認同，逐漸進入畫廊的展示機制，有了不同於街頭創作的交易與贊助方式，亦即塗鴉藝術與主流藝術世界的對話過程，由哈林和其他塗鴉藝術家的研究貫穿六○年代末至八○年代中的西方藝術運動，使現代藝術史在普普藝術之後所遺漏的空隙得以完整串聯。

1. 凱斯˙哈林
BLINDERMAN, Barry, Future Primeval, New York: Abeville Press, 1992.
BURROUGS, William, Barry Blinderman, Timothy Leary, Maarten van de Guchte and Vince Aletti, Keith Haring: Future Primeval, Normal, Illinois: University of Illinois, 1990.
CELANT, Germano, Keith Haring. Munich: Prestel, 1982.
DEITCH, Jeffrey, Keith Haring: Painting, Drawings and a Vellum（Amsterdam: Stedelijk Museum, 1985）.
GRUEN, John, Keith Haring: The Authorized Biography, New York: Prentice Hall Press, 1991.
HARING, Keith, Against all Odds, Rotterdam: Bebert, 1990.
, Art in Transit, New York: Harmony Books, 1984.
, Eight Ball, Tokyo: Kyoto Shein International, 1989.
, Keith Haring Journal, New York: Viking, 1996.
KURTZ , Bruce, D., Haring, Warhol, Disney. Munich: Prestel, 1992.
MURPHY, Bernice, Keith Haring, Milan: Edizioni Charta, 1996.
RUBIN, William Ed., Primitivism in 20th Century Art, New York: Museum of Modern Art, 1984.
SUSSMAN, Elisabeth, Keith Haring, New York: Whitney Museum of American Art, 1997
2. 塗鴉藝術
CASTLEMAN, Craige, Getting Up: Subway Graffiti in New York, London: The MIT Press, Massachusets Institute of Technology, 1982.
COOPER, Martha, Henry Chalfant, Subway Art, New York: Henry Holt, 1984.
CHALFANT, Henry and James Prigoff, Spraycan Art, London: Thames and Hudson Ltd, 1987.
DREW, Robert S. “Graffiti as Public and Private Art,” in Larry Cross Ed. On the Margins of Art Worlds, Colorado: Westview Press, 1995, pp. 231-248.
ROBINSON, David, SoHo Walls: Beyond Graffiti, New York: Thames and Hudson Inc., 1980.
SCHWARTZMAN, Allan, Street Art, New York: Dial Press, 1985.
STEWART, Susan, “Ceci Tuera Cela: Graffiti as Crime and Art,” in J. Fekete Ed., Life After Postmodernism: Essays on Value and Culture, New York: St. Martin’s Press, 1987, pp.161-180.
WALDENBURG, Hermann, The Berlin Wall Book, London: Thames and Hudson Ltd., 1990.
3. 當代藝術
ARNASON, H. Harvard, History of Modern Art, London: Thames and Hudson Ltd. 1989.
COOKE, Lynne, “The Resurgence of the Nightmind: Primitivist Revivals in Recent Art,” in Susan Hiller Ed., The Myth of Primitivism: Perspectives on Art, London: Routledge, 1991, pp. 137-157.
GABLIK, Suzi, Has Modernism Failed, New York: Thames and Hudson, 1984.
FINEBERG, Jonathan, Art Since 1940: strategies of being, London: Laurence King Publishing, 2000.
LUCIE-SMITH, Edward, Art in the Eighties, New York: Phaidon Universe, 1990.
, Art Today, London: Phaidon Press Limited, 1995.
MARSHALL, Richard, Jean- Michel Basquiat, New York: Abrams, 1992.
, “Jean- Michel Basquiat and his subject,” 收於吳健主編，《尚˙米榭-巴斯奇亞》，台北：民生報，民86.
PELFREY, Robert H., Art and Mass Media, New York: Harper & Row, Publishers, 1985.
ROSENBLUM, Robert, The Dog in Art From Rococo to Post-Modernism, New York: Harry N. Abrams, 1988.
SAYRE, Henry M., ”Pursuing Authenticity: The Vernacular Movement in Contemporary American Art,” in Marianna Torgovnick Ed. Eloquent Obsessions: writing cultural criticism, Durham: Duke University Press, 1994, pp. 107-127.
4. 文化史
BROOKEMAN, Christopher, American Culture and Sociaty Since the 1930’s, London: Macmillan Publishers Ltd., 1984.
BROWN, Charles T., The Art of Rock and Roll, New Jersey: Prentice-Hall, Inc., 1992.
BURNER, David, Making Peace With The 60’s, New Jersey: Princeton University, 1996.
CAGLE, Van M., Reconstructing Pop/Subculture: Art, rock, and Andy Warhol, London: Sage Publications Ltd., 1995.
CHAFE, William H., Harvard Sitkoff, A History of Our Time, New York: Oxford University Press, 1983.
CRANE, Diana, The Production of Culture: media and the urban art, Newbery Park, California: Sage Publications, Inc., 1992.
DUBOFSKY, Melvyn, Athan Theoharis, Daniel Smith, M., The United States in the Twentieth Century, Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1978
FRITH, Simon, The Sociology of Rock and Roll, London: Constable & Co. Ltd., 1978.
NASH, Gary B., The American People: Creating a nation and a society, New York: Addison Wesley Longman, Inc., 1998
SMITH, Daniel M., The United States in the Twentieth Century, New Jersey: Prentice-Hall, 1978.
5. 期刊
ALINOVI, Francesca, “Twenty-First Century Slang: Keith Haring, Interview with the Artist,” in Flash Art, vol. 114（November 1983）, pp. 23-31.
BLINDERMAN, Barry, “Keith Haring’s Subterranean Signatures,” in Arts Magazine, vol. 56（September 1981）, pp. 164-165.
BONAMI, Francesco, “Schnabel on Basquiat,” in Flash Art, vol. 190（October 1996）, p. 110.
CALEY, Shaun, “Keith Haring,” in Flash Art, vol. 153（Summer 1990）, pp. 124-129.
CASTLE, Frederick Ted, “Saint Jean Michel,” in Arts Magazine, vol. 63（February 1989）, pp. 60-61.
DEITCH, Jeffrey, “The Warhol Product,” in Art in America, vol. 68（May 1980）, pp. 9-13.
, “Report from Times Square,” in Art in America, vol. （September 1980）, pp. 59-63.
FAIRBROTHER, Trevor, “Double Feature,” in Art in America, vol. 84（September 1996）, pp. 77-82.
GABLIK, Suzi, “Report from New York: The Graffiti Question,” in Art in America, vol. 70（October 1982）, pp. 33-37.
GARDNER, Paul, “The Electronic Palette,” in Art News, vol. 84（February 1985）, pp. 67-73.
,“When Is a Painting Finished?” in Art News, vol. 84（November 1985）, pp. 89-91.
HAPGOOD, Susan, “Irrationality in the Age of Technology,” in Flash Art, vol. 110（January 1983）, pp. 41-43.
HARING, Keith, “Keith Haring,” in Flash Art, vol. 116（March 1984）, pp.20-24.
,“Interview: Kenny Scharf,” in Flash Art, vol.120（January 1985）, pp. 14-17.
LACHMANN, Richard, “Graffiti as Career and Ideology,” in American Journal of Sociology, vol. 94 (2)（September 1988）, pp. 229-250.
LEBOVICI, Elisabeth, “Keith Haring,” in Beaux Arts Magazine, no. 32（Fevrier 1986）, pp. 33-37.
LIU, Catherine, “The Umbilicus of Limbo,” in Flash Art, vol. 146（May/June 1989）, pp. 102-105.
MCEVILLEY, Thomas, “Royal Slumming: Jean-Michel Basquiat Here Below,” in Artforum, vol. 31（November 1992）, pp. 93-97.
MOUFARREGE, Nicolas A., “The Mutant International,” in Arts Magazine, vol. 58 no. 1（September 1983）, pp.120-125.
,“Lightning Strikes（Not Once But Twice）: An Interview with Graffiti Artists,” in Arts Magazine, vol. 57, no. 3（November 1982）, pp.87-93.
MOYNEHAN, Barbara, “Art News: New York: The Mood and Market,” in Flash Art, vol. 116（March 1984）, pp. 28-29.
RATCLIFF, Carter, “Dramatis Personae, Part II: The Scheherazade Tactic,” in Art in America, vol. 73（October 1985）, pp. 9-13.
REYNARD, Delphine, “Graffiti-Writers, Graffiti-Artists,” in Art Press, vol. 81（May 1984）, p. 8.
RICHARD, Rene, “The Radiant Child,” in Artforum, vol. 20（December 1981）, pp. 35-43.
RIVOLI, Castello di, “Keith Haring,” in Flash Art, no. 176（May/June 1994）, pp. 125-126.
ROSENBERGER, Jack, “Haring Estate sues Playboy,” in Art in America, vol. 80（May 1992）, p. 160.
RUBELL, Jason, “Keith Haring: The Last Interview,” in Arts Magazine, vol. 65（September 1990）, pp. 52-59.
SCHWARTZMAN, Allan, “Banking on Basquiat,” in Arts Magazine, vol. 63（November 1988）, pp. 25-26.
THOMPSON, Robert Farris, “Requiem for the Degas of the B-Boys（Keith Haring）,” in Artforum, vol. 28（May 1990）, pp. 135-141.
TULLY, Judd, “A Boost for Basquiat,” in Art News, vol. 92（March 1993）, p. 27.
VERZOTTI, Giorgio, “Portrait of the Artist as an Infant,” in Flash Art, vol. 128（May/June 1986）, pp. 42-45.
VETTESE, Angela, “Europe and America: two aspects of the new surreal,” in Flesh Art, vol. 122（April 1985）, p. 22.
WALKER, Richard W., “The Basquiat Battle,” in Art News, vol. 92（March 1993）, p. 38.
WESTFALL, Stephen, “Surrealist Modes among Contemporary New York Painters,” in Art Journal, vol. 45（Winter 1985）, pp. 315-318.
6. 展覽回顧
ANDERSON, Alexandra, “Exhibition Review: Keith Haring and L. A. Rock, Fun Gallery,” in Flash Art, vol. 112（May 1983）, p. 61.
BASS, Ruth, “Exhibition Review: Keith Haring, Tony Shafrazi Gallery, ” in Art News, vol. 88（March 1989）, pp. 172-173.
CAMERON, Dan, “Exhibition Review: Keith Haring, Tony Shafrazi Gallery, ” in Flash Art, vol. 134（May 1987）, pp. 86-87.
COTTER, Holland, “Exhibition Review: Keith Haring, Tony Shafrazi and Leo Castelli Gallery,” in Flash Art, vol.126（February/March 1986）, p. 48.
DE Ak, Edit, “Exhibition Review: Keith Haring, Tony Shafrazi Gallery,” in Artforum, vol. 21（January 1983）, pp. 79-80.
DIMITRIJEVIC, Nena, “Exhibition Review: Keith Haring, Robert Fraser Gallery,” in Flash Art, vol. 116（January 1984）, p. 39.
FRACKMAN, Noel and Ruth Kaufman, “The Documenta 7: The Dialogue and a Few Asides,” in Arts Magazine, vol. 57（October 1982）, pp. 91-97.
GALLOWAY, David, “Keith Haring: Made in Germany,” in Art in America, vol. 79（March 1991）, pp. 118-123.
GOLDIN, Amy, “Exhibition Review: United Graffiti Artists at Artists Space,” in Art in America, vol. 63（November 1975）, pp. 101-102.
HANDY, Ellen, “Exhibition Review: Keith Haring, Leo Castelli Gallery,” in Arts Magazine, vol. 60, no. 5（January 1986）, p. 134.
HEIT, Janet, “The Comic Art Show,” in Art Magazine, vol. 58 no. 2（October 1983）, p. 9.
KUSPIT, Donald B, “Crash and Daze at Janis,” in Art in America, vol. 73（February 1984）, p. 138.
“Exhibition Review: Haring at Tony Shafrazi and Leo Castelli Gallery,” in Artforum, vol. 24（February 1986）, pp. 102-103.
LINKER, Kate,“Exhibition Review: Post-Graffiti, Sidney Janis Gallery; Keith Haring, Tony Shafrazi Gallery, ” in Art Forum,（March 1984）, pp. 93-94.
LEIGH, Christian, “Exhibition Review: Keith Haring, Tony Shafrazi Gallery,” in Flash Art, vol. 146（May/June 1989）, pp. 132-133.
LINKER, Kate, “Exhibition Review: Post-Graffiti,” in Art forum, vol. 22（March 1984）, p. 92.
MOONEY, Ted, “Interview with Tony Shafrazi,” in Art in America, vol. （December 1980）, pp. 15-17.
MOUFARREGE, Nicolas A.,“Exhibition Review: Tseng Kwong Chi and Rammellzee, Bonlow Gallery,” in Flash Art, vol. 112（May 1983）, pp. 61-62
,“Exhibition Review: Keith Haring, Tony Shafrazi Gallery,” in Flash Art, vol. 116（March 1984）, p. 39.
PANICELLI, Ida, “Latitudine Napoli New York（Exhibition Review: Lucio Amelio Gallery, Napoles）,” in Artforum, vol. 22（February 1984）, pp. 87-88.
,“Exhibition Review: Keith Haring, Galleria Salvatore Ala,” in Artforum, vol. 23（December 1984）, p.97.
PARMESANI, Loredana, “Significant Celebrations: Haring, Cutrone, Scharf, Brown（Exhibition Review: Galleria Salvatore Ala, Milan）,” in Flash Art, vol. 116（March 1984）, p. 32.
POIRIER, Maurice, “Exhibition Review: Keith Haring, Leo Castelli and Tony Shafrazi Gallery, ” in Art News, vol. 85（February 1986）, pp. 120-121.
SAUL, Julie, “Exhibition Review: Post-Graffiti,” in Flash Art, vol. 116（March 1984）, pp. 38-39.
STAPP, Duane, “Beast: Animal Imagery,” in Arts Magazine, vol. 57,no.4（December 1982）, p. 10.
STEIN, Deidre, “The Wild Child,” in Art News, vol. 93（March 1994）, p. 21.
STORR, Robert, “Exhibition Review: Keith Haring and Frank Young at Hal Bromm,” in Art in America, vol. 70（March 1982）, p. 144.