摘要 一、85新潮的定義：時間，性質，歷史地位。 二、社會和政治背景：文化的開放，外來信息的進入。文化 熱。 三、現代藝術的兩對主要矛盾： （一）藝術是作為一種超越社會的手段，還是干預社會的手段？是「為藝術的藝術」，還是「為人生的藝術」？ （二）藝術是作為一種觀念，還是作為一種工具？它是批判的武器，還是武器的批判？ 四、這兩對矛盾在中國「85運動」中的表現。「85運動」是一次文化爆炸，從「社會主義現實主義」為中心投射出去的兩對矛盾、四個方向。 五、展覽如何能够闡述歷史？塗塗改改的歷史。 六、如何判斷85新潮？藝術運動還是政治運動？ 七、展覽的方法 （一）有距離的、生疏的觀察。 （二）做减法。 八、對85闡述的補充：《大地魔術師》 九、歷史的循環，對否定的否定所做的否定。

Outline Ⅰ. Definitions of ’85 New Wave: its time, characteristics, and historical position; Ⅱ. Social-political background of ’85 New Wave: cultural openness, growing awareness of foreign information; cultural enthusiasm; Ⅲ. Two major sets of contradiction in modern art: A. Is art a means of ‘transcending’ society, or ‘intervening in’ society? Do we uphold the notion of ‘art-for-art’s-sake’, or that of ‘art-for-life’s-sake’? B. Do we consider art as a ‘concept’ or as a ‘tool’? Is art a critical weapon, or a critique of weaponry? Ⅳ. How were these two sets of contradiction manifested in ’85 New Wave? It can be argued that ’85 New Wave is a moment of cultural explosion, with socialist realism as the explosion center from which two sets of contradiction and four approaches were emitted. Ⅴ. How does an exhibition serve to interpret history? The history of scribbling. Ⅵ. How do we situate ’85 New Wave? Is ’85 New Wave an instance of artistic movement or political movement? Ⅶ. Methods of exhibitions: A. Distanced and alienated observation; B. Subtraction. Ⅷ. Magiciens de la Terre (Magician of the Earth, 1989) as a supplementary statement Ⅸ. A historical circle: negating the negation of the negative