研究ノート Due to the method of research known as synchronicity, the countries that were previously categorized as being on the periphery of art history can now be viewed more fairly. By clearly showing the originality of the art works of countries formerly categorized as being at the edges, it is possible to distance oneself from the type of colonial art criticism that the countries at the so called center have been dominating. This paper will look at contemporary art works representative of Japan and Taiwan, while examining the historical background for the view of art history as consisting of “central” and “peripheral” countries. The author shall also refer to individual art critiques of the artists and their works which are considered here. The similar aesthetic sense between Japanese and Taiwanese art shall be highlighted, as well as each tradition’s originality.