从1985年开始,行为艺术在中国的发展已经由最初的叛逆期,尴尬期,逐渐过渡到平缓期,甚至到达近日的炒作期。但不可否认的是,行为艺术在拓展中国当代艺术的边界与深度方面具有无可替代的地位与意义。正如罗斯李·哥德堡所说:“行为艺术一直是一种直接对大众进行呼吁的方式,通过使观众震惊,从而重新审视他们原有的艺术观及其与文化之间的联系。”然而这种呼吁方式自身具有的现场性与直接性,却因时间与场域的转化成为被限制与被忌讳的一方, Beginning in 1985, the development of performance art in China has gradually shifted from the initial rebellious and embarrassing periods to a period of gentleness and even to the recent speculation period. However, it is undeniable that performance art has an irreplaceable position and significance in expanding the boundary and depth of contemporary Chinese art. As Rose Lee Gothenburg puts it: “Performance art has always been a way to appeal directly to the public by re-observing their original view of art and its connection to culture.” However This call has its own on-site sex and direct nature, but because of the time and field into a limited and taboo parties,