1985年的劳森伯格展览为信息匮乏、资源严重受限的中国美术界带来了一场接近颠覆性的思想震荡和实践革新。三十年后,同样以劳森伯格为内容的展览,将一个地点引入了标题:劳森伯格在中国。这至少说明,在三十年后的今天的展览叙事中,出现了一种坐标系的反转。人物与地点的并列,意味着关系不再全然从中心四散到边缘,它可以发生逆转,可 The Rauschenberg exhibition in 1985 brought a near-disruption of ideological turmoil and practical innovation to the Chinese art community, which lacked information and resources were severely constrained. Thirty years later, the same exhibition to Rauschenberg introduced a place into the title: Rauschenberg in China. This at least shows that in today’s exhibit narration thirty years later, a reversal of the coordinate system has taken place. The juxtaposition of characters and places means that relations are no longer completely dispersed from the center to the periphery, but can be reversed and