The following is a complete list of Gao Minglu’s publications in English and Chinese, with synopsis (when available) and table of contents in both English and Chinese, to reveal Chinese language information, click 中文 to your right.

1991    主编《中国当代美术史》editor of “The History of Contemporary Chinese Art”  [Chinese only]

Not Available

1997《中国当代美术史（1985—1986）》“The History of Contemporary Chinese Art (1985-1986)” [Chinese only]

《中国当代美术史》是建国后第一部当代美术断代史。它从历史哲学的理论框架出发，对从“文革”结束到八十年代中期整个十年的中国 当代美术思潮、流派、风格、作品进行了概括、梳理和评析。

目录：
第一章短暂的回顾——新时期的美术概观
第二章运动的端绪
第三章理性之潮
第四章生命之流
第五章超越回归后85的新潮美术
第六章传统与现代的选择
第七章风格与多元
第八章现代美术。

“The History of Contemporary Chinese Art” is the first period history of contemporary art in China since the People’s Republic of China. It uses a historical and philosophical framework to summarize, sort out, and analyze Chinese art trends, movements, styles and works from the close of the “Cultural Revolution” through the entire decade in the 1980s. (translation mine)

TOC
1. A short retrospective––concepts of art in a new era
2. Clues on a movement
3. Tides of rationality
4. The current of life
5. The ’85 New Wave beyond return
6. The choice of traditional or modern
7. Style and plurality
8. Modern art
(translation mine)
高名潞作为1989年中国现代艺术大展的筹划人之一，对80年代现代艺术在中国的肇始及发展了熟于心。90年代，他一直在美国做 访问学者。回顾这本作者自85年至96年的文集，他的一些既定看法对于当今的前卫艺术仍然有着不可忽视的意义。他所提出的“理性绘画”在90年代已经终 结，而“论毛泽东的大众艺术模式”文中恰好点出了90年代风行的“政治波普”的内在渊源。

目录：
一、新、老传统：自我完善与集体乌托邦
中国画的历史与未来（上篇）
中国现代美术发展背景之展开
论毛泽东的大众艺术模式

二、后文革：形式唯美与伤感的人道主义
近年油画发展中的流派
乌托邦的幻灭
一个创作时代的终结
从唯美主义到新学院主义
风情与超风情

三、作为运动而非流派的中国前卫艺术：
反乌托邦的乌托邦
当代绘画中的群体和个体意识
三个层次的比较
’85美术运动
高名潞访谈录
新潮美术在中国当代美术格局中的地位及意义
关于理性绘画
前卫与人文――’85运动中的反乌托邦的乌托邦
从艺术的批判到批判的艺术
异域文化战场上的挑战与冲突
走向后现代主义的思考――致任戬信
中国艺术的战场在中国本土
媚俗・权力・共犯

四、前卫艺术与现代意识
新洋务与新国粹
现代意识与’85美术运动
’85美术运动的“文化前卫”意识
文化与美术・美术与文化艺术的边界
雕塑的空间功能及类型
当对话媚俗时，我们需要一种心境的大化
一切历史都是当代史：作为一般历史学的当代美术史

后记
《中国前卫艺术》篇目脱稿期及发表情况一览表

As one of the curators of the 1989 “China Avant-garde Exhibition,” Gao Minglu has a fervent interest in the onset and development of modern [sic] art in China during the 1980s. Gao was a visiting scholar in the United States throughout the 1990s. Looking back on his collected writings from ’85 to ’96, some of his established opinions on today’s avant-garde art still hold significance that cannot be ignored. The “Rational Painting” that he proposed already came to an end in the 1990s, and in his “Discussing Mao Zedong’s Model for Public Art” he accurately points out the intrinsic origins of the “political pop” style en vogue during the 1990s. (translation mine)

TOC
One: New, Old traditions: self-improvement and the collective Utopia
The history and future of Chinese painting (part one)
The background unfolds to Chinese modern art and its development
Discussing Mao Zedong’s Model for Public Art

Two: Post Cultural Revolution: The humanism of Aestheticism and Scars
Painting schools in recent oil painting development
The disillusionment of utopia
The end of a creative era
From Aestheticism to New Academicism
“Style” and “ultra-style”

Three: the Chinese avant-garde as a movement, not a school
Anti-utopian Utopia
Collective and Individual consciousness in contemporary painting
Comparison on three levels
The ’85 Movement
A discussion with Gao Minglu
The status and significance of New Wave art within the structure of Contemporary art in China
On Rational Painting
Avant-garde and humanities––Anti-Utopian Utopia in the ’85 Movement
From art criticism to critical art
The conflicts and challenges of an foreign culture battlefield
Moving towards postmodernism––a letter to Ren Jian
The Chinese cultural battlefield on native soil
Kitsch, Power, Complicity

Four: Avant-garde art and modern consciousness
New Yangwu and New “National Essence” (guocui)
Modern Consciousness and the ’85 Movement
Consciousness of the “cultural vanguard” and the ’85 Movement
Culture and Fine Art, on the margins of fine art and the cultural arts
The spatial function and forms of sculpture
When we are in dialogue, we need to broaden our hearts
All history is contemporary history: contemporary art history as general history

Postscript
“Chinese Avant-Garde Art” published list of articles and titles
(translation mine)

1998 “Inside Out: New Chinese Art”  [English only]

Inside Out is the catalog for a groundbreaking exhibition organized by the Asia Society in New York, with venues also in San Francisco, Seattle, and Monterrey, Mexico. It discusses the first major presentation in the West of contemporary Chinese art and is the most important critique of the field to date. As they pursue their personal visions, Chinese artists tread between two extremes: embracing or rejecting their classical tradition. It is not easy for a Chinese artist to break away from such a rich treasury. For example, many works in the show deal with the written word–that most valued of China’s art forms, with its dual connotations of calligraphic beauty and obsessive ritualistic copying. Song Dong writes on a flat stone with water that quickly evaporates; Xu Bing invents witty, new, but meaningless characters. Understanding a work may require acquaintance with the classics: a suspended boat impaled with arrows harks back to a third-century general who sent straw-filled boats down-river to attract hostile fire, retrieved the boats, and collected his enemies’ arrows to use against them. There is an implicit anti-West message here. Other works, including installation, video, and performance art, have universal connotations that owe nothing to Chinese conventions. Contemporary Chinese art has been around for less than 20 years, but the freshness and variety of the work described in this book indicate that an original new force has joined the global art community. (John Stevenson via amazon.com)

TOC
Towards a Transnational Modernity: An overview of Inside Out (Gao Minglu)
Across Trans-Chinese Landscapes: Reflections on Contemporary Chinese Cultures (Leo Ou-Fan Lee)
The Post-Ideological Avant-Garde (Norman Bryson)
Ruins, Fragmentation and the Chinese Modern/Postmodern (Wu Hung)
Beyond The Middle Kingdom: An Insider’s View (Chang Tsong-Zung)
From Elite to Small Man: The Many Faces of a Transitional Avant-Garde in Mainland China (Gao Minglu)
Striving for a Cultural Identity in the Maze of Power Struggles: A Brief Introduction to the development of contemporary art in Taiwan (Victoria Y. Lu)
Found in Transit: Hong Kong Art in a Time of Change (David Clarke)
Strategies of Survival in the Third Space: A Conversation on the Situation of Chinese Artists overseas in the 1990s (Hou Hanru and Gao Minglu)

2001《世纪乌托邦：大陸前衛藝術》（台湾） “Century Utopia: Avant-garde Art on the Mainland” (Taiwan) [Chinese only]

Not Available

2003《中国及多主义》”Chinese Maximalism” [Chinese only]中国的“抽象艺术”究竟发展如何？中国的艺术家们又是如何理解“抽象艺术”的呢？《中国极多主义》将“极多主义”作为中 国当代“抽象艺术”的一种基本方法论，并以此展开了对中国式的“抽象艺术”的审视分析。想要了解中国的“抽象艺术”，不妨翻开这本——《中国极多主义》。
《中国极多主义》从当代艺术的背景、中国传统的思维方式和与西方抽象艺术的差异等不同角度分析了这些中国“抽象艺术”的“极多主义”特点。作者从艺术家的 具体观念和作品出发，从作品本身与创作背景之间的语境关系的角度去剖析这一独特的艺术现象及其发生的“意义”。作者指出，中国“极多主义”艺术既不是一种 自我表现，也不是一种对外部世界的“抽象”再现，而是这些艺术家的艺术哲学和生活哲学的不可分的一部分。它是传统和当代经验的融合，是建树具有“中国性” 的艺术方法论的探索结晶。“极多主义”以其极端的“重复”、“过程”、“数量”等语言形式对当代文化艺术中至今仍然充斥着的庸俗语义学时尚进行了消解性的 批判。同时，“极多主义”艺术也启发我们去思考建立当代新的艺术本位意识和艺术家人格意识的重要性和迫切性。

目录：
中国“极多主义”——一种另类“形而上”艺术
前言：中国“极多主义”的定义及其发生背景
中国“极多主义”的方法论批判
结论：“极多主义”是一种可以共享的方法论
插图目录
彩色图版
彩色图版目录
艺术家简历
后记

To what extent has Chinese “abstract art” developed? How do Chinese artists understand “abstract art”? “Chinese Maximalism” takes “maximalism” as a basic foundational methodology of “abstract art,” and uses it to develop a survey analysis of Chinese “abstraction” in art. Those who want to understand “abstract art” in China would do well to read this book––“Chinese Maximalism.”

“Chinese Maximalism” analyzes the characteristics of these “Chinese” “maximalists” through the different angles of contemporary background, Chinese traditional thought and its differences from Western abstract art. The author takes off from specific theories and works, and from the angles of the contextual relationship between the works themselves and their creative contexts, analyze this unique artistic phenomenon and its “significance.” The author points out, Chinese “Maximalist” art is not a personal expression, and neither is it an “abstract” representation of the exterior world, but is an inseparable part of these artists’ artistic philosophy and life philosophy. It is an exploration of the crystallization of an an artistic method that contributes to the fusion of the traditional and contemporary. Until today, “Chinese Maximalism” and extreme repetition, process, quantity and other linguistic forms filled with dismissive criticisms of a semantic fashion. At the same time, art inspired us to think about the establishment of a new contemporary art and the importance of and sense of urgency in artists’ personal awareness. (translation mine)

TOC:
Chinese Maximalism: An Alternative “Metaphysical Art”
An Introduction: The Definition of Maximalism and its Artistic Context
Critiques on the Methodology of Chinese Maximalism
Conclusion: Maximalism is a Methodology to be Shared
Postscripts

2005《墙：中国当代艺术的历史与边界》“The Wall: Reshaping Contemporary Art” ［双语］[English + Chinese]

Gao Minglu has curated several major exhibitions of Chinese contemporary art, including China/Avant-Garde in Beijing and Inside Out: New Chinese Art, at the Asia Society in New York, but The Wall: Reshaping Contemporary Chinese Art is the largest such exhibition ever held beyond the borders of China itself. Minglu, the Buffalo Fine Arts Academy and the Millennium Art Museum in Beijing have organized a landmark first collaboration on contemporary Chinese art between American museums and a major Chinese art institution. The results are good: The Wall addresses the work of more than 50 Chinese artists in media from the classic–painting, sculpture and works on paper–to the kinetic and ephemeral–video, installation, performance and film.

This is the catalogue of a traveling exhibition showcasing works by both established and young, under-exhibited artists from China (including Hong Kong). The texts explore from multiple perspectives the development of Chinese experimental art in the period 1985-2005. A chronology of Chinese conceptual art (1976-2004), a Bibliography on 20th century Chinese Art, and artist biographies are provided. (Promotional text)

2005《中国当代最具影响的100位艺术家肖像》 “100 Most Influential Chinese Contemporary Artists” [Chinese Only]

Gao Minglu has profiled the “100 Most Influential Chinese Contemporary Artists” with full-page portraits of themselves contrasted with one significantly smaller image of their works. Artist profiles include a one or two sentence editorial description of their work, and a selected artist’s biography. (my synopsis)

2006《墙：中国当代艺术的历史与边界》 “The Wall: Reshaping Contemporary Art” [Chinese Only]本书是一本史料翔实、方法独特的当代美术史著作。作者试图把现代性研究与艺术史写作有机结合在一起，提出了中国现代性的“整一 性”特点，并且以中国现代性的差异性作为一种方法论，以“墙”的空间观念为依托，分析中国现代性作为一种空间意识如何不断地建构中国现当代艺术的历史和边 界。书中涉及许多中国现当代艺术研究中的重要问题，比如，中国先锋艺术如何在双重体制的复杂空间中生存；现实主义艺术在迅速变化的社会中如何调整其再现的 哲学；传统符号怎样被挪用为当代艺术空间；中国的观念艺术如何整合禅宗和反艺术理论，以求跨越艺术和生活的边界；当代艺术如何“虚拟”现代都市奇观及其错 位现象；怎样认识处于全球文化冲击下的文化“边缘人”和“女性艺术”现象等。

目录：
序
第一章: 中国现代性的另类逻辑
本书构架
中国当代艺术的前卫意义
关于中国当代艺术研究的方法论问题

第二章: 墙里墙外：前卫生存空间的变迁
20世纪70年代末和80年代：征服政治空间的前卫意识
20世纪90年代：画家村与公寓艺术
美术馆时代：“墙”的消 失？

第三章: 真实与虚妄：从“人道”、“人文”、“人态”——中国当代社会现实主义艺术的变和过
“人道”——再现真实的人生：后“文化大革命”时期的写实艺术 （1978-1984）
“人文”——寻求理想真实：“八五美术运动”中的现实超越主义
“人态”——消遣片段真实：20世纪90年代的“状态”写实主义
结论

第四章: 融合生活与艺术：中国观念艺术二十年
理的陈述：“八五美术运动”中的观念艺术
物的自语：20世纪90年代的中国观念艺术
结论

第五章: 人“妖”同体：中国当代行为艺术中身体的仪式化特征
公共身体
“受难”身体：以艺术的名义死亡
“私有化”身体
中国行为艺术的“仪式化”特征

第六章: 重构历史记忆：20世纪中国艺术中的长城
象征意义的诞生
哀悼记忆：呼唤民族魂
修复记忆：重塑全球化时代的中国身份

第七章: 错位与变形：中国当代艺术中的都市社会空间
都市奇观
都市与人间
都市与肉体
都市与记忆
结论

第八章: 当代“边缘人”和中国女性艺术
中国当代艺术大事记（1976-2004）
图版

This book is a complete and accurate, methodological account of contemporary art history. The author attempts to blend the study of modernity and art historical writings together organically, and propose a characteristic of unique “Integrity” of Chinese modernity and use the differences in Chinese modernity as a kind of methodology, analyzing how Chinese modernity as a space continues to build awareness of contemporary Chinese art history and margins. The book touches upon various important issues in the research of Chinese contemporary art, for example, how does the Chinese artistic vanguard survive in the space of a complex dualistic system? How does realism adjust its philosophy of representation in a rapidly changing society? How does contemporary art “virtually” deal with the modern urban spectacle and dislocation? How to recognize the phenomenon of culturally “marginalized” artists and “female artists” located within the impacts of globalized culture, etc. (translation mine)

Chapter 1
: An Alternative Logic for Chinese Modernity: The Histories and Spaces of Chinese Contemporary Art
1. Outline of the book
2. Chinese Contemporary Art and its Avant-Garde-ness
3. The Methodology of the Study of Contemporary Chinese Art

Chapter 2:
Inside and Outside Public Walls: The Living Space of the Chinese Avant-Garde
1. The Late 1970s and 1980s: Avant-Garde Consciousness Conquers Political Space
2. The 1990s: Artist Villages and Apartment Art
3. The Museum Age: The Disappearance of “Walls”?

Chapter 3: 
From Rendao to Renwen to Rentai: Real and Unreal, the Transformation of Social Realism in Contemporary Chinese Art
1. Rendao Realistic Painting in the Post Cultural Revolution Period (1978-1985) The Truth of Human Life Existence
2. Transcending Personal Experience: Renwen Surrealism in the ’85 Movement
3. Consuming the Real: Rentai Situational Realism in the 1990s
Conclusion

Chapter 4:
 Anti-Art and Anti-conceptualism: Chinese Conceptual Art in the 1980s and 1990s
1. An Iconoclastic Movement with a Traditional Face: Chinese Conceptual Art in the ’85 Movement
2.  Chinese Conceptual Art in the 1990s
Conclusion

Chapter 5: 
Body and Soul:  Ritualizing the Body in Contemporary Chinese Art
1.Public Body in Public Space: performance art in the 1980s
2.Death in Art: Wounded Body and Suicide
3.Body as an individual’s Property
4. The “ritualistic” feature of Chinese performance art

Chapter 6: 
Reconstructing Historical Memory: The Great Wall in Twentieth-Century Chinese Art
1.The Birth of a Symbol
2. Mourning the Memory: Self-Reflection on the National Soul
3. Restoring the Memory: Reshaping Modern Chinese Identity in the Global Age

Chapter 7:
 The Wall as an Evolving Space: Reality and the Spectacle of Urban Life
1. The Urban Spectacle
2. The City and Society
3. City and Body
4. City and Memory

Chapter 8 
The Boundaries of Artistic (Aesthetic) and Cultural Identity: “Neo-Literati” and Chinese Women Art
1. “New Traditional” Art
2. Chinese Women’s Art
3. The Anti-Modernist Nature of Chinese Contemporary Abstract Art

Chronology of Chinese Contemporary Art in Mainland China 1977-2004

2006 《另类方法另类现代——艺术大视野丛书》“Art Horizon Series: Special Method in Kind, Special Modernism in Kind” (sic)  [Chinese only]本书针对中国当代艺术进行深入的研究，内容涉及现代水墨、建筑、行为艺术等，分为五章：现代意识与中国当代艺术方法论的建立；现代物质乌托邦在中国 当代建筑方法论中的意义；中国当代水墨的危机是缺乏方法论；极多主义：一种现代主义的幻觉；一个艺术家个案的研究：徐冰的艺术和方法论。适合艺术工作者及 爱好者阅读参考。

目录：
第一章: 现代意识与中国当代艺术方法论的建立
第二章: 现代物质乌托邦在中国当代建筑方法论中的意义
第三章: 中国当代水墨的危机是缺乏方法论
第四章: 极多主义：一种现代主义的幻觉
第五章: 一个艺术家个案的研究：徐冰的艺术和方法论

This book is an in-depth study of contemporary Chinese art, touching upon modern ink painting, architecture, performance art, etc, The book is separated into five chapters: Modern consciousness and the establishment of a Chinese contemporary art methodology; The significance of the utopia of modern materials in contemporary Chinese architectural theory; the crisis in contemporary ink painting; maximalism, and artist case study with Xu Bing. Suitable for art professionals and casual readers. (translation mine)

TOC
One: Modern Consciousness and the establishment of Chinese contemporary art methodology
Two: The significance of the utopia of modern materials in contemporary Chinese architectural theory
Three: The crisis in contemporary ink painting is a lack of theory
Four: Maximalism: The Illusion of a modern doctrine
Five: Artist Case study: Xu Bing’s art and methodology
(translation mine)

2007 《“无名”：一个悲剧前卫的历史》 “The No Name: A History of a Self-exiled Avantgarde” [Chinese + English]在中国当代艺术史上，无名画会是第一个在野的艺术团体。它比星星画会更早。在“文化大革命”期间，他们与“文革”艺术反其道而行之，倡导“为艺术而 艺术”。多年来，这些艺术家默默地作画，很少参与公开的艺术活动。另一方面，这些艺术家的“纯艺术”观念也和过去二十年注重社会性的时尚艺术思潮不相符。 所以，直至今日，人们对无名画会仍很陌生，无名画会的活动历史、艺术家成员、他们的艺术作品和艺术观更是鲜为人知。
本书对“无名画会”的历史、艺术观念和创作实践进行客观、全面的介绍和研究，力求还原中国当代艺术的早期历史，揭开20世纪六七十年代被“文革”政治艺术 所遮蔽和被当代美术史所忽视的一个重要侧面。这本书的出版，将改变有关中国当代艺术起源的论述。

目录：

总论
高名潞：无名画会——拒绝媚俗得悲剧前卫 （130页）

历史
无名画会的早期活动——高名潞和赵文量，杨雨澍的访谈
无名画会与星星画展——高名潞和赵文量的访谈
三十年后看“无名”——无名画会成员座谈会纪要
赵文量：对1979年无名画展的回忆
陶咏白：对1979年无名画展及研讨的回忆记录
马可鲁：无名年代［选］
郑子燕：我对无名画会的回忆
无名画会活动年表

目击者评论
刘迅：因势力导，繁荣群众美术活动
高尔泰：“无名画展”印象记
刘海粟：美在斯——谈几位青年无名画家的创作
马建：现代派艺术的开拓者——无名画会
朱金石：优美的炫
图片
艺术家小传

In Chinese contemporary art history, the “wuming” (“no name”) painter’s association was the first antagonistic artistic group challenging the mainstream, even earlier than the Stars. During the “Cultural Revolution” they moved opposite to artistic currents, and promoted “art for art’s sake.” These artists painted quietly for years, rarely participating in public art activities. In another respect, their concept of “pure art” did not coincide with the social art trends of the previous twenty years. Even now, many people are still quite unfamiliar with the wuming painters, the history of their activities, their members, and their artworks and artistic concepts have remained even more unknown.

This book details the history, artistic concepts, and creative practices of the Wuming Painters Association for an objective and thorough introduction and study, it seels to restore the early years of Chinese contemporary art history, opening up an important side of the 1970s that has been concealed by the “Cultural Revolution” and neglected by contemporary art history. This publication will change discussions on the origins of contemporary art in China.
(translation mine)

TOC
Intro: Gao Minglu: Wuming Painters Association––a tragic avant-garde rejecting kitsch

History:
Wuming Painters early activities–– dialogue with Gao Minglu Zhao Wenliang and Yang Yushu
Wuming Painters and the Stars Exhibition–– dialogue with Gao Minglu and Zhao Wenliang
Thirty Years after “Wuming”––a summary of the members forum
Zhao Wenliang: Looking back on the 1979 Wuming Exhibition
Tao Yongbai: On the 1979 Wuming Exhibition, memories
Ma Kelu: The Wuming era (selections)
Zheng Ziyan: My recollections on the Wuming Painters Association
Wuming Painters Association timetable

Eyewitness Critiques:
Liu Xun
Gao Ertai
Liu Haisu
Ma Jian
Zhu Jinshi

Plates
Artist Bios
(translation mine)

2007 主编：《美学叙事与抽象艺术》“Aesthetic Narrative and Abstract Art” [Chinese only]

这本书是在北京今日美术馆2006年12月召开的“当代艺术中的美学叙事——有关中国‘抽象’艺术问题的讨论”的研讨会基础上出版的一本文集。全书 共分“导论”“中国抽象艺术的历史与情境”“艺术家个案”三个部分，具体内容包括《高名潞：抽象艺术叙事》《易英：当代中国抽象艺术的发展》《黄冰逸：在 美学和诗意之间》《黄笃：中国抽象艺术的境遇》《巫鸿：大象无形》等。另外，该文集还收录了美国芝加哥大学巫鸿先生以及黄冰逸和王小箭发表在谭平和朱金石 展览图录中的文章。该书可供各大院校作为教材使用，也可供从事相关工作的人员作为参考书使用。

目录:
导论 美学叙事与抽象艺术
高名潞：抽象艺术叙事
高名潞：现代性错位：对中国当代艺术叙事的反思
高名潞：回归美学——与孟禄丁关于抽象艺术的对话

中国抽象艺术的历史与情境
易英：当代中国抽象艺术的发展
杨小彦：精英主义与物象恐惧
范迪安：抽象艺术与文化当代性
黄冰逸：在美学和诗意之间
王南溟：“后抽象”个案——天津美院2004级学生的作品分析
王小箭：几何抽象与逻辑美学
黄笃：中国抽象艺术的境 遇

讨论部分
艺术家个案：谭平、朱金石
巫鸿：大象无形
黄冰逸：重力的废墟——论谭平、朱金石抽象绘画的内在逻辑
王小箭：观念 艺术之后——评谭平、朱金石抽象画展

This book is a collection of papers presented at the December 2006 conference at the Today Art Museum entitled “Aesthetic Narratives in Contemporary Art,” a discussion primarily related to the issue of “abstraction” in Chinese art. The book is divided into three portions, an introduction, the history and circumstances facing contemporary art in China, and artist case studies. Contributors include Gao Minglu, Yi Ying, Huang Bingyi, Huang Du, Wu Hung, etc. In addition, this catalogue includes a discussion between Wu Hung, Huang Bingyi and Wang Xiaojian that was held on the occasion of Tan Ping and Zhu Jinshi’s exhibition. This collection is intended for use as a text book at academies, and is also relevant as a professional reference. (Translation mine)

TOC

Introduction: Aesthetic Narrative and Abstract Art
Gao Minglu, Narrative of Abstract Art
Gao Minglu, Dislocation – Rethinking the Narrative of Chinese Contemporary Art
Gao Minglu, Return to Aesthetics – A Dialogue with Meng Luding on Abstract Art
History and Circumstance of China’s Abstract Art
Yi Ying, Development of Abstract Art in Contemporary China
Yang Xiaoyan, Elitism and Fear of Images
Fan Di-an, Abstract Art and Contemporareity of Culture
Huang Bingyi, Between Aesthetics and the Poetic
Wang Nanming, Case Study of the “Post-Abstraction” – Analysis on Works of Class 2004, Tianjin Academy of Fine Arts
Wang Xiaojian, Geometrical Abstraction and Aesthetics of Logic
Huang Du, Circumstance of China’s Abstract Art
Discussion in the Conference
Case Studies: Tan Ping and Zhu Jinshi
Wu Hung, A Great Image Has No Form (or, the Universe Has No Shape)
Huang Bingyi, Ruins of Grativity – the Logic of Abstract Painting of Tan Ping and Zhu Jinshi
Wang Xiaojian, After Conceptual Art – on Abstract Painting of Tan Ping and Zhu Jinshi

see also: “READING GAO MINGLU” PART TWO, 2008-2010

请参考：高名潞书目：第二部（2008－2010）

[…] also: part one of “Reading Gao Minglu,” […]

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