近三十年来中国美术理论发展最大的问题是什么?有人说是方法论的缺失和学派的缺位——因为在“方法论”上,我们都在引进和借用,没有针对中国问题产生某种有效的研究方法;而在“学派”问题上,因为理论家缺乏自身理论的系统建构,理论与批评呈现出一种泛专业化的倾向,批评标准不明确,更无法论其理论范式的形成及衍化。理论是一种普遍性的表述,自有一套概念系统与评判体系。可为什么在理论不甚发达的情况下,中国当代的美术批评却十分活跃?是否中国的美术理论被批评牵扯了?用时下的话说,即“美术理论批评化”了。 What are some of the biggest problems in the development of Chinese art theory in the past three decades? Some have argued that there is a lack of methodology and a lack of schools. Because we are all introducing and borrowing from “methodologies,” we do not have a Effective method of research. On the issue of “school ”, because the theorists lack the systematic construction of their own theory, the theory and criticism tend to pan-specialization. The criterion of criticism is not clear, nor can it be discussed in its theoretical paradigm Formation and evolution. Theory is a universal expression, its own set of conceptual systems and judging system. But why the contemporary art criticism in China is very active under the condition of its underdeveloped theory? Is China’s art theory criticized and criticized? In the words of nowadays, art criticism is criticized.