摘要：Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud＇s ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud＇s ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.