Today, after frst decade of the 21st century, the building of relationship between contemporary, history, and art is no longer an answer, but a convergence of writing of different angles and forms. In the era of homogenization of the arts, one will also need to return to the recognition and redefnition of how to see art history before it is possible to 'transform art history'. But, can exhibition be an art movement? Obviously, like all works, it also has its timing and unavoidable destiny.

　　In 2010, China formally recognized its diverse manifestations of contemporary art; to provide such a vast space for contemporary art activities, one can say that it is the fruit of contemporary art's pursuit of recognition over the past decades to the participation of the Taiwan Pavilion, it began in mid-October of 2009.Under the knowledge of non-proft participation of private organizations, My Humble House Art Gallery invited Taiwan's new artists to take part in this exhibition of Chinese contemporary art. For this reason, a positive consensus was reached: the Taiwan Pavilion will be themed 'A Spectade of the Ordinary' and presented as a stand-alone block that showcases the works of new generation artists born after 1970, and the presentation of 30 years of contemporary art in Taiwan will be shown in a complete and dedicated book. Such an open, respectful, and non-commercial premise is the reason for my personal participation in the Taiwan Pavilion.

　　Why present in a stand-alone and unbroken manner? There is an experience

　　context of modern history in Taiwan's new art, and behind the presentation, one can not sever the art reality it once had. The frst major event in the chronicle of Taiwan's contemporary art is the resignation from the UN in 1971, which led to the rise of a slow local cultural movement that lasted 10 years, and an economic development. Itwas during this phase that contemporary art in Taiwan entered the art gallery age. The second is the abolishment of the martial law in the mid-1980s and the establishment of modern art galleries. For ten years it drove the local consciousness, initiated a historical refection on post-war abstract art in Taiwan, and entered the diverse post-modern period. The third is Taiwan's Biennale frenzy after 1995 that took Taiwan's contemporary art onto the world stage through art diplomacy of participation in and organization of international exhibitions, while contemporary art moved into the era of alternative space, art galleries, and art fairs. The fourth is the era of globalization, technology, the Internet, market after 2001, where international exhibitions and galleries fourished, resulting in the rise of new arts.

　　Therefore, since the 1980s, writers can no longer use methods such as linear time, style classifcation, and media division to effectively describe the changing landscape of the time and the linear relations connected to history, but this does not imply the lack of sense of history for art during the period of Cold War. In 1990, Jean Baudrillard, a contemporary culture theorist, borrowed anthropologist Claude Levi-Strauss' anthropological concept and used 'cold society' to explain the phenomenon of art detached from the sense of history during the Cold War era, especially between 1950-1960. At that time, the Western 'modernity' was based mainly on abstract form and focused on rationality; in terms of sense of history, it oriented toward the theory of spiritual analysis and residual emotions that can trace back the common memory of mankind or past events.

　　In the late 1970s, convergence of time and space in contemporary art between two sides of the strait began. Since the late 1970s, contemporary art in Taiwan began the pursuit of a sense of history after the start of local movements in the Taiwanese literature and the introduction of Andrew Nowell Wyeth's work, a local realism painter from the United States. It is noteworthy that the art under the movement of scar literature of Sichuan, China, was also infuenced by Wyeth. While we are discussing the 30 years of convergence in contemporary art between China and Taiwan, it can be said that Wyeth's content and techniques in local realism and themes intertwined with the civilian life, is an art form recognized by both parties across the strait in the late 1970s; however, the scar realism of Sichuan and the local realism of Taiwan are yet completely different in the sense of historical context and meaning.