如果从当下中国艺术创作格局的现象观察出发,对“当代艺术”可以得到这样一个的把握:背景实践中国古典艺术西方艺术中国本土艺术国际艺术(西方话语权)主流趣味先锋趣味“背景”一栏作为“上文”构成了当下艺术创作的起点,经过20世纪中国艺术超越了本土传统的一元结构,形成了跨文化的新形态,这是中国艺术现代性进程的历史选择。这一背景,又决定了“实践”一栏中的当下“中国本土艺术”的创作实践与理论阐释,在观念、趣味、体制、语言等方面始终包含着“中/西之辩”的问题意识。这种问题意识一方面导致了由所谓“四大主义”构成的关于中国美术走向现代之路的“自觉”的理性叙述(潘公凯)和当下中国本土艺术的体制特征;一方面又通过 If we look at the phenomena of the current Chinese art creation pattern, we can get such a grasp of “Contemporary Art”: Background Practice Chinese Classical Art Western Art Chinese Native Art International Art (Western Discourse Right) Mainstream Fun Pioneer Fun “Background ”Column as the “ above ”constitutes the starting point of contemporary art creation, after the 20th century Chinese art beyond the traditional unity of the local structure, the formation of a new cross-cultural form, which is the historical choice of Chinese modern art process . This background also determines the practice and theoretical interpretation of the current “Chinese local art” in the column “Practice”, which always contains the concept of “Chinese / Western” in terms of concept, taste, system and language Debate “the issue of awareness. On the one hand, this kind of question consciousness leads to the rational narration (Pan Gongkai) about the ”conscientiousness“ of Chinese art going to the modern road constituted by the so-called ”four major doctrines" and the institutional characteristics of contemporary Chinese local art; on the one hand, by