“发生在福建省美术展览馆内的事件展览 ”  前言

这里展出的展品不是作为绘画或雕塑,而是作为一次美术事件展览，这是一次具有限定性、袭击性和连续性的事件。所有展出的作品均限定于本展览馆大院内露天堆放的各种物质。这些东西不是作为创作的原材料被装饰或构成,而是简单的移入展厅，平铺或垂立，倚靠或堆放，就像他们在露天的情形一样，所不同的是它们受到曾经在此展出过的美术作品同样待遇——有作品标签，有参观者，有美术理论支持，有美术家来完成，而且这一切都是在美术馆内举行，所以堪称为美术事件。这些东西突然涌进美术馆这具有某种袭击意味，被袭击的不是参观者，而是参观者关于 ”艺术“ 的看法。同样被袭击的也不是美术展览馆，而是美术展览馆作为制度的一个范例。这次美术事件展览是续今年十月"廈門達達“画展、十一月对该展览的作品进行改装、毁坏、焚烧的艺术活动之后又一次连续性举动。它暗示着某种激烈变动的观念，以及迅速实现这些观念的重要。至于问一件在美术馆内正式展出的东西是否是艺术品看来是多余的；制作者以为承认这些作品是艺术品也无所谓的，遗憾的是美术馆理所当然地赋予这些东西为艺术,这已是约定俗成。

在这次展览中，我们空手而来，最后空手而归，这是一次無 "作品" 的作品展览。

​1986年12月   福州. 黄永砅，林嘉华，俞晓刚，焦耀明

Foreword to "An Exhibition of Events Occurring Within the Fujian Art Museum"

The exhibits here are not presented as paintings or sculptures, but as an exhibition of an art event—an event characterized by its limitation, aggression, and continuity. All exhibited works are confined to various materials piled up outdoors within the museum's courtyard. These materials were not used as raw materials for decoration or composition, but simply moved into the exhibition hall, laid flat or hanging, leaning or piled up, just as they were in the open air. The difference is that they receive the same treatment as artworks previously exhibited here—they have labels, visitors, art theory support, and artists involved in their creation. And all of this takes place within the museum, thus qualifying as an art event. The sudden influx of these materials into the museum carries a sense of aggression; the attacked entity is not the visitors, but their perceptions of "art." Similarly, the attacked entity is not the art museum itself, but an example of the system it represents. This art event exhibition is a continuation of the "Xiamen Dada" exhibition in October and the subsequent art activities in November involving the modification, destruction, and burning of works from that exhibition. It suggests a rapidly changing set of ideas and the importance of quickly realizing them. As for whether something formally exhibited in a museum is art, that seems superfluous; the creators might think it's irrelevant to acknowledge these works as art, but unfortunately, museums take it for granted that these things are art—this has become a convention.

In this exhibition, we came empty-handed and left empty-handed; it was an exhibition of works without "works."

​December 1986, Fuzhou China

​Artist: Huang Yongping, Lin Jiahua, Xiao Gang Yu, Jiao Yaoming