隨著社會的富裕，文化消費的交易量也隨之增高。引進法國高檔美術作品相當符合社會需求，也頗受台灣各界的青睞，尤其也能替辦展單位帶來許多正面的形象及利潤。過去15年，台法博物館特展之交流活動因而相當頻繁。本論文主要探討美展之引進過程與運作模式，特別是博物館與媒體之間的合作模式，並望進一步探討文化全球化下的文化流通對於台灣本土文化輸出與輸入嚴重失衡的文化入超現象。 本論文以2013年在史博館展出的「莫內特展」作為研究個案，查訪並分析展覽之引進與運作模式，探討博物館與合辦媒體的合作關係。得出幾項發現，包括媒體主導活動、觀眾熱烈參與、商業利益優先，也提及幾點建議，如專業分工各司其職、博物館化被動為主動、維持觀展品質重要性。 With today''s affluent society, trading volume of cultural consumption also increase. To import French high-end art works are quite consistent with the needs of society and quite popular in different circles of Taiwan. In particular, it can bring many positive image and profits for exhibitors. Over the past 15 years, exchange activities of museum exhibition between Taiwan and France are quite frequently. This thesis focuses on the process of introducing art exhibition and the mode of operation, especially the cooperative mode between the media and museum. And hope to further explore the circulation mode of cultural globalization for Taiwan, culture imbalance of output and input, the phenomenon of cultural trade deficit. In this thesis, we study the case of the "Monet Exhibition" at the National Museum of History in 2013. Visits and analysis the import process and the operation mode of "Monet Exhibition". To explore the cooperative relation of museum and media. We have several discoveries, including the media-led activities, enthusiastic audience participation, commercial interests priority. we also mention some suggestions, such as two sides specialization, museum should regain the initiative and maintain the quality of the exhibition.