毛旭辉作为“八五新潮”的代表性艺术家之一,在当下中国当代艺术生态中,也许难以在类型化、符号化的趋同性里给予简单地界定和归类。如果说前卫艺术意味着对现存艺术系统的格格不入,那么毛旭辉当然位列其中,但这一定位却有些宽泛和空洞。倘若将中国的前卫指涉在“八五新潮”以来,延续到后现代主义、文化全球化潮流,毛旭辉的艺术创作渐行渐远。与现代主义艺术相比,毛旭辉显得相当的人文主义,与后现代主义比较,他拒绝 As one of the representative artists in the “1985 New Trend,” Mao Xuhui may not be able to easily define and classify in the contemporary convergence of genre in Chinese contemporary art. If the avant-garde art implies incompatible with the existing art system, then Mao Xuhui is certainly one of them, but this position is somewhat broad and hollow. If we refer to China’s avant-garde refers to “85 new trend ” since, continue to the postmodernism, the trend of cultural globalization, Mao Xuhui artistic creation lopsided. Compared with modernist art, Mao Xuhui appears quite humanistic. Compared with post-modernism, he rejects