不论是好还是坏,是出于高雅旨趣还是出于低级趣味,“后现代”,这一将两个字叠合而成的词儿,成了当前影响最大的社会文化的标签。它是由汤因比(Toynbee)早在半个世纪以前首先提出,尔后又渗入到各个领域,特别是建筑领域之中。现在,术语“后现代”和它的思想上的伙伴“后现代主义”正在书刊杂志、论文演说、唱片和展览会及各种视觉传达媒介的标题上泛滥成灾,在视觉艺术的薄弱的语言环节上方兴未艾。我们正淹没在形形色色的“后”之中,诸如“后极少主义”,“后概念浪漫主义”,“后认知主义”,“后功能主义”,“后中世纪”,“后文明”,“后工业”,“后表演主义”,“后后艺术”,“后空间”,“后感觉”,“后流行”,“后过程”,“后抽象表现主义”等等,然而在这片一 Whether it is good or bad, is out of elegance or out of taste, “postmodernity,” a word that is a combination of two words, has become the most influential social-cultural label. It was first proposed by Toynbee as early as half a century ago and then infiltrated into various fields, especially in the field of architecture. Now, the term “postmodern” and its ideological partner “postmodernism” is flooding the titles of books, magazines, essays, records and exhibitions and various visual communication media in the weak language of visual arts Link on the ascendant. We are drowned in all sorts of “postscripts” such as “post-minimalism”, “post-conceptualism”, “post-cognition”, “post-functionalism”, “post-medieval” “Post-industry”, “post-performance”, “after art”, “after space”, “after feeling”, “post-popular”, “post process”, “post abstract expressionism” one