|
Prologue: Cruel/Loving Bodies
by Sasha Su-Ling Welland
p. 6
|
|
In Anticipation of Men’s Art: Re-reading Women’s Art in Hong Kong
by Anthony Leung Po Shan
p. 8
|
|
Casting the Mold of Female Body and Identity: Reinterpreting Biographies of Exemplary Women
by Wu Weihe
p. 15
|
|
Lift the Cover from Your Head
by He Chengyao
p. 20
|
|
Change and Fabrication: The Body as Site for the Feminine and the Intercultural
by Lesley Sanderson
p. 25
|
|
The Stranger: An Artist’s Statement
by Mayling To
p. 30
|
|
Epilogue: Cruel/Loving Bodies
by susan pui san lok
p. 32
|
|
Yu Hong’s Witness to Growth: Historic Determination and Individual Contingency
by Xenia Tetmajer von Przerwa
p. 34
|
|
Emerging from Behind the Screen of Female Art
by Yang Li, Gu Zhenqing
p. 43
|
|
Looking Forward from Venice: The Prospects of Contemporary Chinese Art
p. 48
|
|
Three Men and a Camera: Chang Yung Ho, Wang Jianwei, and Yang Fudong
by Vivian Rehberg
p. 62
|
|
Interviews with Chang Yung Ho, Wang Jianwei, and Yang Fudong
by Hans Ulrich Obrist
p. 64
|
|
If It Isn’t Built, It Can’t Be Torn Down: Notes on
Wang Wei’s Temporary Space
by Philip Tinari
p. 72
|
|
Long March: A Walking Visual Display On-Site Criticism Meeting
by Hang Jian, Han Yuhai, Huang Ping, Kuang Xinnian, Li Xuejun, Lu Jie, Meng Hui, Qi Jianping, Philip Tinari, Wang Hui, Wang Jianwei, Wang Mingxian, Zhang Guangtian, Zhu Jinshi
p. 74
|
|
Chen Zhen at P.S. 1
by Jonathan Goodman
p. 105
|
|
Rong Rong’s East Village at Chambers Fine Art
by Jonathan Goodman
p. 107
|
