Li Shan is a painter and prominent figure in the Political Pop movement that developed in China in the 1990s. Born in 1942, Li Shan graduated from the Shanghai Drama Institute in 1968 and lived through the Cultural Revolution that so drastically impacted the subject of many of the most famous artists of his generation.

Ding Yi occupies a special place in the development of contemporary Chinese art. In his acclaimed Appearance of Crosses series, which the artist began in the late 1980s, Ding Yi employs the X and + symbols across his canvases as an embodiment of standardisation, repetition, and raditionality within the context of 20th Century modernism. The strikingly raw yet delicate present work, Appearance of Crosses 96-24, is a prime example of his now instantly distinguishable creative approach, which can, in many ways, be seen as a geometric homage to Piet Mondrian and the pioneering Dutch abstract art group, De Stijl.
丁乙在中國當代藝術的發展中佔據了一個特殊的位置。在他廣受讚譽的「十示」系列中，丁乙在畫布上使用了X和+符號，作為20世紀現代主義背景下標準化、重複和輻射性的體現。這件引人入勝粗糙而細膩的作品《十示96-24》是藝術家獨特的創作方法的最好例子。在許多方面，這件作品可以被看作是藝術家對皮特·蒙德里安和荷蘭抽象藝先驅風格派的致敬。

Dimensions of three panels: 48 x 38 cm (18.89 x 14.96 in).
Dimensions of two panels: 47 x 38 cm (18.50 x 14.96 in).

Document 1: Photocopy of the map of Pourrières with inscriptions and ink highlights, signed and dated (1990) at the bottom left.
Dimensions: 42 x 29.7 cm

Document 2: Set of two photocopies of a complaint letter to the mayor of Pourrières. Annotated in Chinese by the artist.
Dimensions: 29.7 x 21 cm (each)

Document 3: Set of two photocopies.
Dimensions: 21 x 29.7 cm (each)

Document 4: Photocopy of an article with manual additions, Var Matin, June 30, 1990.
Dimensions: 21 x 29.7 cm

Document 5: Set of three sheets handwritten by the artist.
Dimensions: 13.5 x 21 cm, 10 x 21 cm, and 17 x 21 cm (visible area)

Each one has a certificate signed by Xu Min, bearing the Chen Zhen stamp and dated September 13, 2011

2000年，陳箴因病驟逝，享年45歲。他在短暫的國際化創作生涯裡，迅速成為該世代最發人深省的觀念藝術家。這幅手繪作品是陳箴為了創作1997年的裝置作品《經輪》所做的研究。《經輪》乃陳箴涉足大型裝置藝術的初期嘗試，亦為其對日常生活的儀式化干預。同年，紐約現代藝術博物館PS1當代藝術中心重新啟用之際，這件作品首次展出。陳箴對《轉經筒》的說明如下： 「有錢能使鬼推磨」(中國俚語)，1997年 《經輪》是奠基於「穿越」與「地下」這兩種物理空間概念的裝置作品。 第一個概念體現於一座擁有迷宮般結構的巨大建築。為了使每位觀者能「穿越」這個物件，因而產生將轉經筒置於通道之間的構想。第二個概念則與地下室的氛圍相關。地下室是一個寒冷、潮溼，卻又奇妙、夢幻的空間，在這種環境下，「紙紮廟宇」和「垃圾燈籠」能互相對話。 《經輪》也喚起我在離開中國之前，於西藏佇留三個月的體驗。我每日最重要的儀式之一便是轉動經筒，此儀式賦予我許多奇特的感受與寶貴的心靈啟發。 我在這件作品中透過比喻來改變轉經筒的意義。資本主義逐漸成為世界性的宗教，這意味每個人都應該「穿越」這個有關金錢財富的美夢。即使我的祖國─中國仍然是共產主義與社會主義社會，也應如此。 《經輪》寓意帶給人們好運。因此，這件作品諷刺性地影射人心就像一台數鈔機，執迷於經濟的繁榮。 人們轉動經筒求取財富，認為「有錢能使鬼推磨」，有錢就能掌控世界。