随着改革开放后的文化多元走向,已经断裂多年的前卫形式被激进的年轻人重新拾起。由于民众对深入人心的经典艺 术形式的审美惯性思维,还普遍不能接受当代前卫艺术的形式与主张。但是,随着国际化的进程的加快,特别是有关 方面由原来的批判到默认再到有限的支持,去年威尼斯双年展设中国广东展区,表明了对新艺术的开放态度。本文试 图从解构的现象谈起,说明解构在前卫艺术内核中依然发挥着作用,它们的批评性指向仍然有其意义。 With the cultural pluralism after the reform and opening up, the avant-garde form that has been broken for many years has been picked up again by radical young people. Due to the people’s aesthetic inertia thinking of the popular classical art form, it is still generally unable to accept the form and proposition of contemporary avant-garde art. However, as the process of internationalization accelerates, especially from the original criticism to the default and then to limited support, last year’s Venice Biennale set up an exhibition in Guangdong Province of China, which shows the open attitude to the new art. This article attempts to talk about the phenomenon of deconstruction, indicating that deconstruction still plays a role in the avant-garde art kernel, and their critical pointing still has its meaning.