展览评述
物化的世界观——评Anish Kapoor个展、刘鼎个展和宋冬个展 文／卢迎华
寻找无形的方法论——评“中国发电站I和II”、“Jorgeeris个展”和“Roman Signer回顾展” 文/Carol Lu
专题：策展与批评
批评家何为——陆蓉之访谈
喧哗与骚动中的悄然与静谧——中国当代艺术的批评现状与思考 文/ 王宝菊
艺术结构的转变——策展与操作的文化学意义兼述中国策展人的国际境遇 文/ 宋 刚（钢） 吴松
专题：展示“中国”
荷兰的两个中国当代艺术展：西方和中国的各种反应 文/ 周韬
中国景观中的中国艺术家——张培力在荷兰莱顿大学“China on Display” 会议上的演讲 整理/周韬
专题：中国现当代美术史研究
上海艺术的形式主义历史——“’83阶段绘画实验画展” 文／于佳婕
在“八五”的时候，所谓的“新潮”已经旧了——“1976〜1985上海实验艺术回顾展”访谈录（部分） 文／王南溟 于佳婕
“八五新潮”阵容最豪华的展览——我所经历的“八五”美术运动 文/刘向东
深度评述
2006-07：“中国奇迹”之下的中国当代艺术 文／杨小彦
新艺术的震荡——中国现代艺术扫描 文／杨卫
论当代性与当代艺术的信条 文／李森
艺术为什么是有性别的？ 文／邱敏
吴冠中艺术的批评迷雾——评翟墨、水天中和鲁虹对吴冠中艺术的批评 文／吴味
身份认同与波动：辨析中国建筑与当代艺术结合的十年 文／王家浩 周诗岩
自述
行为的诉说，诉说的行为 文／苍鑫
论坛
中国画的当代介入问题——刘庆和作品展研讨会 整理／张光华
别处
埃里克·施马伦贝格谈“卡伦·布莱克的艳丽恐惧” 译／黄川
编织梦想的人 文／Steven Psyllos 译／黄川
间接 文／Olga Milogrodzka 译／黄川
罗萨琳·德雷克斯勒：美丽的陌生人 文／Kalliopi Minioudaki 译／黄川
美国人心理学：兔八哥谈海洛因 文／Andrea Liu 译／黄川
现代化与自然法则 译／黄川
乔治·加特萨斯 译／黄川
全球女权运动 文／Jovana Stokic 译／黄川
苏珊·克罗斯与斯宾塞·芬奇的对话 译／黄川
希尔维·格雷姆与拉塞尔·马利芬特 译／Emilio Corti 黄川
先锋建筑
漂浮空间——阿布扎比古根海姆艺术馆
美术馆
在不安分中寻求介入的诸多可能——关于上海证大现代艺术馆的现在与未来 文／赵松
作品分析
展览信息
合作空间
Comments on Exhibitions
Materialized Weltanschauung—on Solo Exhibitions of Anish Kapoor, Liu Ding and Song Dong
Lu Yinghua
Searching Immaterial Methodology—on China Power Station: Part I & Part II, Jorge Peris’ Solo Exhibition and Roman Signer’s Retrospective Exhibition Carol Lu
Special Topic:
Curator and Criticism
What Do Critics Do?—Interviewing Victoria Lu
The Silence and Tranquility in Uproar and Disturbance—Thinking about the Criticism on Chinese Contemporary Art Wang Baoju
Change of Artistic Structure—Discussing on Chinese Curators International Position and the Cultural Meaning of Curating and Operation Song Gang Wu Song
Special Topic:
Display of China
Two Chinese Contemporary Art Exhibitions in the Netherlands: Various Reactions from the West and China Zhou Tao
Chinese Artists in Chinese Scene—Zhang Peili’s Lecture in “China on Display” Seminar Leiden University Zhou Tao
Special Topic:
The Study on Art History of Chinese Contemporary Art
The Formalistic History of Shanghai Art—“Experimental Painting Exhibition of ’83 Painting”
Yu Jiajie
In 1985, the So-called “New Wave” Was Already Old—Interview of “Retrospective Exhibition of Shanghai Experimental Art 1976~1985” (Part) Wang Nanming Yu Jiajie
Exhibition of the Most Luxurious Lineup in “ ’85 New Wave”—The Art Movement that I Experienced in 1985 Liu Xiangdong
In-depth Comment
2006-07: Chinese Contemporary Art in “China Miracle” Yang Xiaoyan
Turbulence of New Art—A Scan on Chinese Modern Art Yang Wei
Modernity and Credendum of Contemporary Art Li Sen
Why Gender Makes Difference in Art? Qiu Min
The Mists of comments on Wu Guanzhong’s Art—Comment on Zhai Mo, Shui Tianzhong and Lu Hong’s Critiques on Wu Guanzhong’s Art Wu Wei
Identity and Fluctuation: Analyzing the Ten Years When Chinese Architecture and Contemporary Art Combined Wang Jiahao Zhou Shiyan
Account in One’s Own Words
Words for Actions, Actions for Words Cang Xin
Forum
Contemporary Involving in Chinese Ink Painting—Seminar of Liu Qinghe’s Solo-exhibition
Zhang Guanghua
Beyond
Eric Schmalenberger on The Voluptuous Horror of Karen Black
Dreamweavers Steven Psyllos
Collateral Olga Milogrodzka
Rosalyn Drexler: The Beautiful Stranger Kalliopi Minioudaki
American Psycho: Bugs Bunny on Heroin Andrea Liu
Modernization and Law of Nature
Georg Gatsas
Global Feminisms Jovana Stokic
Susan Cross Talks To Spencer Finch
Sylvie Guillem, Russel Maliphant Emilio Corti
Avant-garde Architecture
Guggenheim Art Pavilion, Saadiyat Island Cultural District, Abu Dhabi
Art Museum
Seeking More Intervening Possibility in Discontent—About the Present and Future of ZENDAI MOMA
Zhao Song
Analysis of Work of Art
Exhibition Information
Collabration Space