The shift of focus from ontology of art to epistemology is what motivated this paper to investigate an empirical interface account, which is that we have moved from asking “What is art?” to exploring “What experience does art provide?” This change did not occur overnight – instead, it was a gradual, transitional exploration towards aesthetic boundaries. When Kant proposed his judgement of beauty, the purposiveness of art became more associated with aesthetic experience. During Modernism, the art movement called for breaking with literary content to focus and experiment on art itself and artforms capable of representing experiences that other fields cannot. This study examined “found objects” – including their application, development, and how 1960s artists defined their artistic role before conducting a series of reflection, query, and artistic creation. The research also looks retrospectively into the natural legitimacy of today’s art, with the discussion focusing mainly on the process of experience and successive changes seen in artistic expansion. In terms of research material, the case study adopted a longitudinal research, citing the author’s personal artworks and closing the discussion with such references. Hence, the sense of problem raised in the context are in fact motivated by the researcher’s creative thinking. Featuring the author’s personal creative practice and Minimalism as a framework, the paper offers mutual reference and discourse, followed by an analysis of the shift from the traditional passive audience account to an experience-seeking perception process. Furthermore, by examining installation art, the paper provides further clarification into the network of relationships within an artwork’s object, audience, and venue, arguing it to be a holistic empirical interface.