这个称谓不能算一个准确的社会或艺术学的概念,权当是我用以语言论美学转折之后对艺术品的生产和接受的一种诠释代码。这个称谓也不是依据后现代(社会),后殖民(文化)、后极权(政治)三元并存和融渗的现实条件,对当代艺术家身份的策略性指派。实际上,“三后”并存,相 This term can not be regarded as an accurate concept of social or artistic studies. It should be interpreted as a code for the production and acceptance of works of art after the turning of linguistic aesthetics. Nor does this term refer to the strategic assignment of contemporary artists based on the realistic conditions of post-modern (social), post-colonial (cultural) and post-totalitarian (political) ternary coexistence and infiltration. In fact, the “three after” co-exist, phase