中国当代艺术的概貌大致可以从三个方面窥见,一是国家性美术馆对当代艺术的推广,它的选择往往具有一定的公共文化属性;二是藏家、画廊一干体系在审视当代艺术时所做出的选择,这无疑会携带与生俱来的资本化倾向;三是游离于前两者之间,自主的、个体的自发性艺术机构。美术史告诉我们,一些非主流的艺术机构或群体,往往会生发出一股不可忽视的创新力量。这三者在艺术发展史中各自发挥着不尽相同的作用,却缺一不可。其中民间艺术机构的力量尚且处于“低产”阶段。这里所谓生产即是随着依托于机构的艺术创作、展览实践而获 The general outline of Chinese contemporary art can be roughly glimpsed from three aspects. One is the promotion of contemporary art by national art museums, and its choice tends to have certain public cultural attributes. The second is when collectors and galleries are contemplating contemporary art The choice made will undoubtedly carry an inherent tendency toward capitalization. The third is to free itself from the spontaneous and independent artistic institutions of the two. Art history tells us that some non-mainstream art organizations or groups often give birth to an innovative force that can not be ignored. All three have different roles in the history of art development, but they are indispensable. Among them, the strength of folk art institutions is still in the stage of “low yield”. The so-called production is relying on the agency’s artistic creation, exhibition practice