2000年11月6日,随着上海双年展的顺利开幕,对中国当代艺术具有标志性意义的日子宣告来临。 中国当代艺术终于结束了江湖漂泊的在野史,堂堂正正地走进官方殿堂,赢得了参与社会的话语权,并进入国际大平台,与世界公开对话。 同时,中国当代艺术的舞台上,也第一次出现了这样一种景观:官方主体展和几十家民间展各占山头,似乎相互矛盾,相互对峙,其实又彼此辉映,相互造势,构 On November 6, 2000, with the successful opening of the Shanghai Biennale, the landmark day of Chinese contemporary art was announced. Chinese contemporary art has finally brought an end to the unofficial history of the rivers and lakes and entered the official hall with dignity and integrity. It has won the right to participate in the society and has entered an international platform to hold open dialogue with the rest of the world. At the same time, for the first time on the stage of Chinese contemporary art, such a landscape has also emerged: the official subjects show and dozens of private exhibitions occupy the hills seem to be contradictory and mutually confrontational. In fact, they show each other and each other,