In our ongoing exploration of the historical evolution of contemporary art, we have delineated a pivotal turning point around 1987 (as discussed in Waves and Echoes: A Process of Re-contemporarization in Chinese Art Circa 1987 Revisited, 2021). While prevailing narratives often depict Chinese contemporary art of the 1980s as following a linear trajectory, we propose a different perspective. We regard the art scene in 1987 not as a continuation, but rather as the culmination of the decade’s radical explorations. After the “anti-bourgeois liberalization” movement in 1987, the intellectual space of society was constrained, bringing an end to the dynamic and contentious intellectual trends around ‘85 New Wave. Post-1987, the once diverse and multifaceted nature of artistic practice began to coalesce with the prevailing austere reality, resulting in a more unified approach. Influential voices from art academies championed a movement towards refining artistic language and reverting to what was considered the fundamental essence of art. This transition arose as a reaction to the New Wave movement, which was criticized for its excessive focus on philosophical and cultural themes. This emphasis was seen as detracting from the inherent language and expressive qualities unique to the artworks.

In the 35th edition of Art News of China, dated August 29, 1988, Li Xianting launched a new column titled Avant-garde Art, setting it apart from the earlier New Wave Art series. In the column’s introduction, Li Xianting observed: “Post-1987, the New Wave art transcended its initial preoccupation with surface-level social and philosophical themes, evolving distinctly in two directions. Firstly, it developed a deeper engagement with local culture, delving into the ‘ultimate values’ of humanity. Secondly, there emerged forms like ‘tactile art,’ ‘postal art,’ and ‘programmatic art,’ featured in this edition. These forms focus on introspection within art and culture itself, aspiring to use the entire realm of art, particularly Western modern art, as a foundational reference point.”

The inaugural article of this section, Tactile Art by Wang Luyan, presents “Tactile Art No. 1-4,” creations by Wang himself, Gu Dexin, Li Qiang, and Wu Xun, featured on the second page of the issue. The article goes beyond merely describing these works, delving into the underlying issue they address. It critiques the overreliance on intellect and knowledge, which often overshadows direct, unmediated experience. The artists’ aim is to “reawaken the dormant sense of touch, liberating it from intellectual constraints and imbuing it with new significance.” This approach seeks to strip away the layers of reason and knowledge that have traditionally shaped our understanding of touch. This concept aligns with the broader cultural shift towards “removal of meaning,” a movement that tempers the fervor for humanistic ideals. By focusing on the unaltered, unmediated sense of touch, these artists establish a new basis for meaning.