一、批评家的地区性与“地方霸权”我们不停地听到批评家在说艺术需要批评,然后就是那些专门说艺术需要批评的人都没有去从事真正的批评工作,因为说起来容易做起来难。岛子在一篇《行为艺术论》只涉及到一点点有关彭德论述行为艺术的方法论错误的时候。彭德马上写了一篇《岛子现象》,问岛子这样写居心何在,理由是既然观点如此不同,岛子在做四川美术学院美术学系主任的时候,却要请他去那里做教授,还说这篇文章是与岛子的绝交书。针对这种不学无术的文章,岛子的回答很好:本来与彭德就没有什么交情,哪里来的绝交?彭德的例子在批评界绝不是一个,皮道坚与彭德相似,他对那些批评“实验水墨”的批评家,都套以“心胸狭窄”和“别有用心”的过激词语,还将对“实验水 First, the criticism of the regional and ”local hegemony “ We constantly hear critics say that art needs criticism, and then that is, those who specifically say that art needs criticism did not go to engage in real criticism, because speaking Easy to do difficult. Island in a ”theory of performance art“ involves only a little bit about Pende’s methodology of behavioral mistakes. Peng De immediately wrote an article on ”Island Phenomenon“ and asked him how to write his heart because his viewpoints were so different. When he was director of the Fine Arts Department of Sichuan Fine Arts Institute, he asked him to be a professor there , Also said that this article is an empty book with the island. For this non-learned article, the island’s answer is very good: Peng Pei did not have any friendship, where did the absolute diplomacy? Pender’s example in the critics is by no means one, Pi Kennedy and Peng similar, His critics who criticize ”Experimental Ink “ are all over-excited by the words ”narrow-mindedness“ and ”ulterior motives"