本文旨在揭開菲利普斯的跨文化藝術史學視野。菲利普斯〈美學原始主義的再訪——全球散佈的「原始藝術」與土著現代主義的興起〉一文，極為特殊地以「案例」構成論述主幹。然而，菲利普斯並不透過案例研究重施二十世紀後期探討西方藝術現代主義霸權的激烈批評，而是展現了觸及人類學範疇的、具地方脈絡的跨文化特性。這種以「案例」為核心的書寫方式，無論在藝術史學方法的範疇上或是在曾引發激烈論爭的「現代藝術中的原始主義」議題上，都展現了相當的特殊性。是以，本研究針對菲利普斯的「案例」操作方式分析其思考脈絡，發現「案例」不僅體現了菲利普斯對西方美術中現代主義侷限性的反省，更勾勒了一種具有在地特質的跨文化新藝術史學設想。

This essay intends to reveal the vision of cross-cultural in art history of Ruth B. Phillips. The essay of R. B. Phillips “Aesthetic primitivism revisited: The global diaspora of ‘primitive art’ and the rise of Indigenous modernisms” has the characteristic of using "cases study" to constitute the backbone of the discussion. However, Phillips does not represent the fierce criticism of the hegemony of Western art modernism in the late twentieth century through the “case study”, but instead demonstrates the cross-cultural characteristics that touch the anthropological category and local context. This extraordinary way of writing with "case study" as the core, showing considerable particularity both in the field of art history methods and in the issue of "primitivism in modern art" which has sparked fierce controversy. This research aims at the operation method of Phillips’s "case study" to analyzes the thinking context, finding that the " case study " not only reflects Phillips’ reflection on the limitations of modernism in Western art, but also outlines a new cross-cultural assumption in the history of art with local characteristics.