毛同强堪称数十年如一日做作品的中国当代艺术家之代表人物,其作品最突出、最令人难忘的特质,即是以一种客观的立场、恢弘的规模展示与时间和历史有关的概念,在一种坚定的立场和执着的追问中呈现自己的思考。他每件作品都要耗费数年时间,虽然数量不多,但每次展览都引起很大的反响。上世纪90年代末,毛同强用死者的档案做了作品《档案》,前几年则用几千把用过的镰刀和锤子做了作品《工具》。2009年,毛同强在北京的“墙·美术馆”举办个展《地契》,呈现了一件由1300余件各个时期“地契”组成的装置作品。在该作品中,他用人们废弃的东西作为艺术语言,从社会学的角度来关注人在社会中产生的关系以及无法超越的政治经济范畴。 Mao Tong-qiang, one of the most prominent and memorable qualities of Chinese contemporary artists who have been making works for decades, is to present concepts relating to time and history in an objective and magnificent scale , In a firm position and persistent questioning his own thinking. Each piece of his work takes years, although in small quantities, each exhibition has aroused great repercussions. In the late 1990s, Mao made the “archives” of the deceased’s file, and in the last few years he made his works “tools” with thousands of used sickles and hammers. In 2009, Mao held a solo exhibition “Land Deed” at the “Wall Art Museum” in Beijing and presented an installation featuring more than 1,300 pieces of “lease”. In this work, he uses what people discarded as an artistic language, and from the perspective of sociology, he focuses on the relations that people make in society and the political and economic categories that can not be surpassed.