the capitalist society, products are devised not to last long so as to facilitate constant demand and consumption, In order to maintain the short life cycles of the mass-produced goods, the new materials created in this production system tend to perish fast and easily, Since the late twentieth century, artworks register the experience of this sociery, where ````all that is solid melts into air," by their ephemeral nature. Many artists are using rela-tively fragile materials such as polymers and organic ``ubstances in contrast to the sturdy and durable medium of conventional art, I call these artworks, which last only temporarily, as ephemeral art, Yet the ephemeral art refers to not only those of delicate materials but also performances, installations, and conceptual arts in a broad sense, as they are recreated in each occasion, manifested in various media, and most importantly, exist at a specific venue during a certain duration of time, In other words, the long lasting myth of art as a manifestation of permanent value and timeless beauty has been dismissed by the advent of the ephemeral art, The ephemeral art has posed a significant challenge against the mod-em and contemporary art museums, the institutions of collection, classifica-tion, and conservation. In contemporary art world, curators are the musical conductors who generate renewed interpretations of the given works, and museums are more like a sanatorium, rather than a sanctuary of permanent objects, where the fragile things are taken care of under a constant techno-logical/medical attendance to prolong the life expectation of the ephemer-al art works. Variable Media Network, an initiative launched by the Solomon R. Guggenheim Museum in New York, and supponed by the Dankl Langlois Foundation for An, Science, and Technology based in Montreal provided a new cataloguing system of the ephemeral an, which I believe, can develop into a new paradigm of contemporary an collection and preservation. In Variable Media Network, works of art are described not by their media, but by behaviors-contained, installed, performed, interactive, reproduced, duplicated, encoded, networked, etc, Strategies to prolong the lifespan of the artworks are also proposed-storage, emulation, migration, and reinter-pretation. As most artists tend to operate multiple behaviors, museums have to combine different strategies to catalogue and preserve those increasingly complicated works. This alternative paradigm of classification and conservation of ephemeral art redefined the function of museums and curators, and ultimately redirected the definition of work of art.