In this thesis, I examine Object Art as a study of objects in Comtemporary Art. I researched Object Art as a property of matter with critical point of view while I teach students at the field and study Object Art and its history. The direction of the study about Object art is summarized by three ways. First of all, I attempted to make clear a concept of Object art by researching diversity and equivocality of the concept of Object art in etymological, art historical, and social contexts. From a synthetic Cubism of Picasso to Futurism, Dada, 'ready-made' by Duchamp, and Surrealism, they have revealed the history of objects, then I analyzed how objects have transformed to an art. In the last chapter, a method that opens a new horizon of Modern Art is suggested. Contemporary Art is not a term of art that is extream, contradiction, denial at all, but it has to be harmonious and balanceable. Because an art work created by human, who is the primary of art, is another living thing, it has to restore narrative elements of embodiment which have eliminated and varieties of expression to find out the original life of an art work. In conclusion, the art is not that all to see and to feel even if it is true that an art work has a physical form. Creating art needs to try to express an invisible true, then it is possible to make conversation, to understand, and to appreciate when it is presented to a shape by colors and forms. It is respected not to show a simple form of object itself or extremely an abstractive world, but to recover it as an illusion. Of cause, it is not only an illusion for a revival art, but it pursues an art which has a vitality including a spirit of inner world and philosophy of an artist. That's because to get out of bounds of Contemporary Art, expressing a value of an artist's idea requires a new turning point.