上节文字发表于1966年,那时本书的许多年轻读者尚未出生。在本章篇首,我讲到了我为什么认为艺术史不能“一直写到当前”,还讲到了我持这一看法的某些理由。二十几年前,当我用“实验性美术”一章结束本书时,我和同代人一样,确信二十世纪艺术的各类革命运动正面临着心怀敌意的公众,必须加以保卫,以抵御他们的种种偏见。不过,1966年已不同于1950年的情形。此间,昔日造反者的作品已成为博物馆和私人收藏家的珍品。假如某些公众仍然觉得这些作品难懂,他们就极想倾听别人的讲解。可见,现代艺术已获全胜。正是由于我经历了当初那场艺术命运的变迁,所以用问号结束了上文:至于将来——谁能预言呢? The last text was published in 1966, when many of the younger readers of this book were not born yet. At the beginning of this chapter, I talked about why I think that art history can not be “written down to the present”, and also mentioned some reasons why I hold this view. Twenty years ago, when I ended the book with the chapter “Experimental Art,” I, like my own generation, convinced me that various revolutionary movements in the twentieth century art were facing hostile publicity and must be defendants, To resist their prejudices. However, 1966 is different from the situation in 1950. Here, the work of the former rebels has become a treasure of museums and private collectors. If some members of the public still find these works difficult to understand, they would very much like to hear other people’s explanations. Visible, modern art has won. It is precisely because I experienced the fate of the original changes in the arts, so ended the question with a question mark: As for the future - who can predict it?