1997年对美术界来说,似乎是一个没有新闻的年头。特别是从八十年代以来一直折腾不息的前卫批评家,从来没有过这样的沉默。自1992年由青年批评家组织的“广州油画双年展”以来,几乎每年都有由知名批评家组织的提名展和邀请展,这些活动实际上是中国现代艺术的润滑剂,它承接了八十年代前卫艺术运动的余波,虽然没有那样激进,但一直以一种学术的姿态把握着现代艺术的走向。在前卫艺术运动风起云涌之时,批评家似乎有一种错觉,好像是“没有革命的理论,便没有革命的运动”,尤其 For the art world in 1997 it seemed like a year without news. Especially the avant-garde critics who have been tossing their nerves since the 1980s have never had such silence. Since the “Guangzhou Oil Painting Biennale” organized by young critics in 1992, there have been nominations and invitational exhibitions organized by well-known critics almost every year. These activities are actually lubricants for modern Chinese art. They have undertaken eight The aftermath of the avant-garde art movement of the decade, although not as radical, has been grasping the trend of modern art with an academic attitude. At a time when the avant-garde art movement is surging, critics seem to have the illusion that “there is no revolutionary movement without a revolutionary theory,” especially