藝術(shù)家：
王廣義
余有涵
方力鈞 cynical realism, theme of scale(microscopic)
岳敏君 笑臉代表新一代人對社會(huì)的態(tài)度，并且?guī)в谢艔埧謶?loss, meaninglessness and spiritual decay
艾未未 meaninglessness 人類自戀地把自己當(dāng)作造物主，但所謂的創(chuàng)作并不是什么創(chuàng)作

策展人/藝術(shù)評論家：
費(fèi)大為

收藏家：
Uli Sigg (1st true collector of Chinese Contemporary Art): “Contemporary art is a very good mirror of society, also of change in a society, the Chinese art is mirrored that change in their works. Their topic changed from during the 80s, the grand themes of building a Chinese society, then 89, the big rupture, Chinese artists turned more to the self and the identity questions to everyday life, then during the 90s, you would see works appeared about consumerism, urbanism, urban destruction, destruction of old cities, destruction of living environment, now you have works very often dealing with identity question China is facing with this global mainstream western culture, how does it stand on its own values, what is its own values…”

觀感：

80年代，在政治高壓漸漸減輕和經(jīng)濟(jì)繁榮還沒到來的時(shí)候，那些中國藝術(shù)家們享有了脫離政治和經(jīng)濟(jì)的自由，當(dāng)時(shí)的人們創(chuàng)作的目的是為了解放自我。
如今的中國當(dāng)代藝術(shù)更多地尋求一種有張力，給人以震撼的表現(xiàn)形式，藝術(shù)家們有時(shí)也會(huì)被重復(fù)自己有商業(yè)價(jià)值的舊作的引誘束縛，主題上來說更為迷茫。中西方的文化交合使當(dāng)代中國人對自己的文化認(rèn)知有所迷失，藝術(shù)品也正是為了尋找自我認(rèn)同的身份感而創(chuàng)作。
如何在藝術(shù)品的商業(yè)化和創(chuàng)作自由之間尋求一種平衡？