我们如何能够谈论亚洲当代艺术,或说不同于现今全球化中流于再生产之国际模式(意即只有商品形式上的调整)的全球当代艺术?首先,或许需要面对的问题是为何国际上对于亚洲当代艺术的指称总是极化为“国族”与“国际”的两端,也因此,为何可以假装天真地用“中国当代艺术”、“印度当代艺术”等等方式来限定其美学的可能性?又为何能够以去脉络的“采样”方式宣称各大双年展的批判性 How can we talk about Asian contemporary art or global contemporary art that is different from the international model of reproduction in current globalization (that is, only the formal adjustment of the commodity)? The first question that may need to be confronted is why the international community The allegations of contemporary art are always polarized at both ends of the “nationality” and the “international”. Therefore, why can we pretend to naively use “contemporary Chinese art” and “contemporary art in India”? And other ways to limit the possibility of its aesthetics? And why the context can be “sampling ” way to declare the critical Biennial