奥地利诗人里尔克曾说:“荣誉归根结底只是围绕着一个新的名字聚集起来的一切误解的化身。”这句话用来解读当代艺术家王广义似乎再合适不过。关注中国当代艺术及艺术市场的人会发现,从2008年起王广义基本处于沉默状态,不仅没再举办个展,而且对于那些热闹的“露脸儿”场合,也多半不参加。尽管对于这种沉默,王广义自己的说法是:“或许就是从那时起,我的内心开始回顾走过的这30年艺术历程,而我的思考、创作和外界毫无关系,所谓‘沉默’与否,也只是别人的说法。”但不可否认的是,人们习惯在他身上张贴的“政治波普”标签好似一把双刃剑,一方面为他在中国当代艺术界赢得了声誉和荣光;但也导致了他每一时期的艺术不断地遭受误读,甚至长期以来被一些冷战性的批评话语权和商业资本解说所曲解、限制。而对于面对这样的曲解和限制,和王广义有着近30年交情的艺术史学家黄专则说:“艺术家是无力反抗的。” Austrian poet Rilke once said: “Honor is ultimately an incarnation of all the misunderstandings that surround a new name.” It seems appropriate to interpret the contemporary artist Wang Guangyi. Those who are concerned about the Chinese contemporary art and art market will find that since 2008, Wang Guangyi has basically remained silent, not only did not hold solo exhibitions, but also most of the lively “faceless” occasions. Although for this kind of silence, Wang Guangyi’s own statement is: “Perhaps it is from then on that my heart began to review the 30-year art journey I walked through, and my thinking and creation have nothing to do with the outside world. The so-called” silence ’Or not, it’s just what others say.’ “But it is undeniable that the” political pop “labels people are accustomed to posting on him seem like a double-edged sword, on the one hand for him to win in the Chinese contemporary art world But also led to the constant misunderstanding of the art of each period of his life, even for a long time been distorted and limited by some cold-warmed discourse of criticism and commentary on commercial capital. However, in the face of such misunderstanding and restriction, Huang Zhulian, an art historian with nearly 30 years of friendship with Wang Guangyi, said: ”The artist is powerless to resist.“ ”