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可以毫不讳言地说,中国当代艺术自从其面世以来,就处在四面楚歌的境地。对中国当代艺术的讨伐、抨击可谓此起彼伏,甚至不乏上升到“殖民、后殖民文化”的政治高度的责难。简言之,中国当代艺术之所以在其起步伊始便遭遇劫难,是因为其接踵而至的天价使得习惯了延续遗老遗少对残山剩水、花花草草情有独钟的一些“国粹派”们感到了前所未有的危机,高调维护传统、质疑中国当代艺术的文化身份的背后,究其实质是因为市场份额的被瓜分——一统江山的市场格局被打破。当然,还有就是当代艺术作品中多有反思,甚至不乏揭疤、割瘤之类的题材,触动了不少批评家和理论家的灵魂。
It is fair to say that since the advent of Chinese contemporary art, Chinese contemporary art has been embattled. The crusade against and criticism of contemporary Chinese art is one after another, and there is even no shortage of censure rising to the political level of “colonial and post-colonial culture.” In short, the reason why Chinese contemporary art has suffered a catastrophe at the very beginning of its history is that the ensuing hegemony has made it a habit that some of the “quintessence” "We have felt the unprecedented crisis, the high-profile maintenance of tradition and the question of the cultural identities of contemporary Chinese art behind the fact that the market share has been divided up - the dominant market pattern has been broken. Of course, there is more introspection in contemporary art works, and there is even no shortage of topics such as scabbing and cutting tumor, which have touched the souls of critics and theoreticians.