Abstract

Art historian Wu Hunga one of the first to describe contemporary Chinese art suggested that in the Chinese context it should rather be called experimental shiyan yishu 1 then postmodern as it diverges chronologically from the development of Western art In 2005 he wrote that he saw the following stages 1979-1984 the time of the formation of unofficial art 1985-1989 known as the New Wave of Art 85 and the China Avant-garde exhibition in Beijing as a result of this period then 1990-1993 when Chinese experimental art entered the world market and finally from 1994 to the present art as a critique of the socio-cultural situation in China 2 Now after more than fifteen years it would be appropriate to add further stages including certainly the extremely intense development after 2004 of art using new information technologies and social media