“边缘化”是当代艺术话语中一个颇为时兴的字眼。对于中国当代美术来说,这个字眼究竟蕴含了多少意义? 按诸实际,处在“边缘化”状态中的中国当代美术又发生了什么转向?本期刊发的查常平的《当代艺术的边缘化》 对此问题进行了阐述。需要特别指出的是,该文提到的“民间化”不仅是指一种状态,而且是指一种立场,这种 立场与主流立场、精英知识分子立场之间既有联系,又有区别,那么,它作为一种文化实践所依存的社会文化场 域是什么?与社会整体空间结构的关系又如何？它是否是民粹主义的当代征兆?这一连串问题都值得我们去作进 一步的思考。本期同时刊发的乔志强《论中国现代形态美术史学之建立》一文较为系统地阐发了美术史的建构历 史,也让我们从宏观上认识到现代各种不同的美术史著述在史学观上的差别。杨萍的《凤翔泥塑的当代变迁和启 示》一文则从凤翔泥塑这一个案入手,对民间美术的当代发展空间和途径作出了设想。 “Marginalization” is a rather fashionable word in contemporary art discourse. What is the meaning of this word for contemporary Chinese art? What is the turning point of Chinese contemporary art in the “marginalized” state according to the actual situation? This issue of Cha Changping’s “Edge of Contemporary Art This issue has been elaborated. What needs to be specially pointed out is that ”civilization“ mentioned in this article refers not only to a state but also to a position that is both linked and differentiated from the mainstream position and elitist intellectual position, So what is the social and cultural field which depends on it as a kind of cultural practice and how does it relate to the spatial structure of society as a whole? Is it a contemporary symptom of populism? All these questions deserve our consideration for further. Qiao Zhiqiang’s article ”On the Establishment of Chinese Modern Morphology and Art Historiography“ in the current issue expounds systematically the history of the construction of art history, and also enables us to recognize macroscopically various modern art history writings in the view of history difference. Yang Ping’s ”The Contemporary Changes and Enlightenment of Fengxiang clay sculpture" started with the case of Fengxiang clay sculpture, and envisaged the contemporary development space and approaches of folk art.