In this article I depicted how photographs were absorbed in the contemporary visual art movement through three courses and allegory and how they were explained in the theoretical perspective,and I explored how photographs were explained in the relation with theories of humanities and art works. Lastly with regard to photographs I compared mordernist formalism with postmodern critics. The focus of this analysis was to move our perspective from seeing photographs as images to examining them in the theoretical frames. The purpose of this article was that the discourse of photographs should be understood in terms of art movement, esthetic, art critic, linguistic and art historic. In addition, all the artistic works should be considered as neutral representation. The issue is whether we can define the identity of photographs in one track mind. First of all, to impute an allegorical motive to contemporary art is to venture into proscribed territory,for allegory has been condemned for nearly two centuries as aesthetic aberration, the antithesis of art. I want to focus on this reemergence through its impact on both the practice and the criticism of the visual arts. Duchamp is an important precedent to be accounted for contemporary art. He identified both the ‘instantaneous state of rest’ and the ‘extra-rapid exposure’ that is, the photographic aspects, of ｢The Large Glass, 1915-1923｣ as ‘allegorical appearance’. Allegorical imagery is appropriated imagery. The allegorist does not invent images but confiscates them. He lays claim to the culturally significant, acts as its interpreter. And the image becomes something other. He does not restore an original meaning that may have been lost or obscured. Allegory is not hermeneutics. The first link between allegory and contemporary art may now be made: with the appropriation of images that occurs in the works of Cindy Sherman, Sherrie Levine and others. The artists who generate images through the appropriation of images. Sherman’s works are all self-portraits,but in them the artist invariably appears masked and disguised. She first costumes herself to resemble familiar female stereotypes-career girl, ingenue, sex object.-and then photographs herself in poses and settings reminiscent of the cinematic culture of the 1950s and 1960s. The photo works by Sherrie Levine after Alexander Rodchenko, Walker Evans, Edward Weston and other masters of early modern photography are among the most radical works in this context. Her re-photographed images raised questions about originality and even copyright infringement.