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The market for Chinese contemporary art has developed at a feverish pace, becoming the single
fastest-growing segment of the international art market. Since 2004, prices for works by Chinese
contemporary artists have increased by 2,000 percent or more, with paintings that once sold for
under $50,000 now bringing sums above $1 million. Nowhere has this boom been felt more
appreciably than in China, where it has spawned massive gallery districts, 1,600 auction houses,
and the first generation of Chinese contemporary-art collectors.
This craze for Chinese contemporary art has also given rise to a wave of criticism. There are
charges that Chinese collectors are using mainland auction houses to boost prices and engage in
widespread speculation, just as if they were trading in stocks or real estate. Western collectors
are also being accused of speculation, by artists who say they buy works cheap and then sell
them for ten times the original prices-and sometimes more.
Those who entered this market in the past three years found Chinese contemporary art to be a
surefire bet as prices doubled with each sale. Sotheby's first New York sale of Asian
contemporary art, dominated by Chinese artists, brought a total of $13 million in March 2006; the
same sale this past March garnered $23 million, and Sotheby's Hong Kong sale of Chinese
contemporary art in April totaled nearly $34 million. Christie's Hong Kong has had sales of Asian
contemporary art since 2004. Its 2005 sales total of $11 million was dwarfed by the $40.7 million
total from a single evening sale in May of this year.
These figures, impressive as they are, do not begin to convey the astounding success at auction
of a handful of Chinese artists: Zhang Xiaogang, Yue Minjun, Cai Guo-Qiang, Liu Xiaodong, and
Liu Ye. The leader this year was Zeng Fanzhi, whose Mask Series No. 6 (1996) sold for $9.6
million, a record for Chinese contemporary art, at Christie's Hong Kong in May.
Zhang Xiaogang, who paints large, morose faces reminiscent of family photographs taken during
the Cultural Revolution, has seen his record rise from $76,000 in 2003, when his oil paintings first
appeared at Christie's Hong Kong, to $2.3 million in November 2006, to $6.1 million in April of this
year.
Gunpowder drawings by Cai Guo-Qiang, who was recently given a retrospective at the
Guggenheim Museum in New York, sold for well below $500,000 in 2006; a suite of 14 works
brought $9.5 million last November.
According to the Art Price Index, Chinese artists took 35 of the top 100 prices for living
contemporary artists at auction last year, rivaling Jeff Koons, Damien Hirst, and a host of Western
artists.

2. "Everybody is looking to the East and to China, and the art market isn't any different," says Kevin
Ching, CEO of Sotheby's Asia. "Notwithstanding the subprime crisis in the U.S. or the fact that
some of the other financial markets seem jittery, the overall business community still has great
faith in China, bolstered by the Olympics and the World Expo in Shanghai in 2010."
There are indications, however, that the international market for Chinese art is beginning to slow.
At Sotheby's Asian contemporary-art sale in March, 20 percent of the lots offered found no
buyers, and even works by top record-setters such as Zhang Xiaogang barely made their low
estimates. "The market is getting mature, so we can't sell everything anymore," says Xiaoming
Zhang, Chinese contemporary-art specialist at Sotheby's New York. "The collectors have become
really smart and only concentrate on certain artists, certain periods, certain material."
For their part, Western galleries are eagerly pursuing Chinese artists, many of whom were
unknown just a few years ago. Zeng Fanzhi, for example, has been signed by Acquavella
Galleries in New York, in a two-year deal that exceeds $20 million, according to a Beijing gallerist
close to the negotiations; William Acquavella declined to comment. Zhang Xiaogang and Zhang
Huan have joined PaceWildenstein, and Ai Weiwei and Liu Xiaodong showed with Mary Boone
last spring. Almost every major New York gallery has recently signed on a Chinese artist: Yan Pei
Ming at David Zwirner, Xu Zhen at James Cohan, Huang Yong Ping at Gladstone, Yang Fudong
at Marian Goodman, Liu Ye at Sperone Westwater. Their works are entering private and public
collections that until now have not shown any particular interest in Asian contemporary art.
"The market hasn't behaved as I anticipated," says New York dealer Max Protetch, who has been
representing artists from China since 1996. "We all anticipated that the Chinese artists would go
through the same critical process that happens with art anywhere else in the world. I assumed
that some artists would fall by the wayside, which has not been true. They all have become
elevated. It seems like an uncritical market."
One of the key artists buoyed by this success is Zeng Fanzhi, who is best known for his "Mask"
series. Five years ago his works sold for under $50,000. Today he commands prices on the
primary market closer to $1 million, with major collectors Charles Saatchi and Jose Mugrabi
among his fans. Now preparing for his first solo show at Acquavella in December, he is
considered one of the more serious artists on the Beijing scene because he works alone, without
the horde of assistants found in most other artists' studios in China. Still, his lifestyle is typical of
that of his equally successful peers. When asked if he owns a mammoth black Hummer parked
outside his studio, he answers, "No, that's an ugly car. I have a G5 Benz."
This success has blossomed under the watchful eye of the Chinese government. Movies,
television, and news organizations are strictly censored, but on the whole, the visual arts are not.
Despite sporadic incidents of exhibitions being closed or customs officials seizing artworks, by
and large the government has supported the growth of an art market and has not interfered with
private activity. In the 798 gallery district in Beijing, a Bauhaus-style former munitions complex
that has been transformed into the capital's hottest art center, with more than 150 galleries, one
finds works addressing poverty and other social problems, official corruption, and new sexual
mores. The icons of the former China-happy workers and peasants and heroic soldiers raising the
red banner-are treated with irony, if at all, by the artists whose works are on view in these
galleries, which are private venues generally not under the strict control of the Ministry of Culture.

3. On the eve of the Olympics, however, the government asked one gallery to postpone an
exhibition until after the games. Considered unsuitable was "Touch," a show by Ma Baozhong at
the Xin Beijing Gallery of 15 paintings depicting important moments in Chinese history, including
one based on a photograph showing Mao Zedong with the Dalai Lama and the Panchen Lama in
1954.
The Beijing municipality spent enormous funds to renovate the 798 district before the Olympics,
putting in new cobblestone streets and lining its main thoroughfare with cafés. Shanghai,
which has benefited less from government support, now boasts at least 100 galleries. Local
governments throughout the country are establishing SoHo-style gallery districts to boost tourism.
One person who seems confident about the future of the Chinese market is Arne Glimcher,
founder and president of PaceWildenstein, who opened a branch of his gallery in Beijing in
August. Located in a 22,000-square-foot cement space with soaring ceilings, redesigned at a cost
of $20 million by architect Richard Gluckman, the gallery is in the center of the 798 district. "We
are committed to the art, and we wanted to open a gallery where our artists are," says Glimcher.
Adding that he normally eschews the "McGallery" trend of setting up satellite spaces around the
world, Glimcher insists that it was necessary to establish a branch in Beijing because there is "no
local gallery of our caliber" with which Pace could partner. He has, however, recruited Leng Lin,
founder of Beijing Commune, another gallery operating in 798, to be his director.
Another Western dealer who has taken the China plunge is Arthur Solway, who recently opened a
branch of James Cohan in Shanghai. "I started coming to China five years ago, and I was
fascinated by the energy," says Solway, who wanted to introduce gallery artists like Bill Viola,
Wim Wenders, and Roxy Paine to Asia but, like Glimcher, could not find a public museum or
private gallery that he considered professionally qualified to handle such exhibitions. James
Cohan Gallery Shanghai is located on the ground floor of a 1936 Art Deco structure in the French
Concession, a particularly picturesque section of the city. The building was once occupied by the
military, and red Chinese characters over the front door still exhort, "Let the spirit of Mao Zedong
flourish for 10,000 years."
"From 1966 to 1976, during the Cultural Revolution, people had nothing, but now there are spas
in Shanghai and people drinking cappuccinos and buying Rolex watches-it's an amazing
phenomenon," says Solway, who believes it is only a matter of time before these same newly
affluent consumers begin to collect contemporary art.
Chinese collectors-or the hope that there will be Chinese collectors-are the key draw luring these
galleries to Beijing. As recently as two years ago, few could name even a single Chinese collector
of contemporary art. It was a truism that the Chinese preferred to spend their money acquiring
antiquities and classical works. Since then several well-known mainland collectors have emerged
on the scene.
Most visible is Guan Yi, the suave, well-dressed heir to a chemical-engineering fortune, who has
assembled a museum-quality collection of more than 500 works. A major lender to the Huang
Yong Ping retrospective organized by the Walker Art Center in Minneapolis in 2005, he regularly
entertains museum trustees from all over the world, who make the pilgrimage to his warehouse
on the outskirts of Beijing. Now he is building his own museum.

4. Another noted figure is Zhang Lan, head of the South Beauty chain of Szechuan-style restaurants
throughout China; she also has assembled an enviable collection and displays pieces from it in
her chic establishments. The film actress Zhang Ziyi is representative of a new class of collectors
from the entertainment industry, while Pan Shiyi and Zhang Xin, chairman and CEO of the
mammoth SOHO China real estate empire, have commissioned projects for their upscale
residential properties.
Two collectors who are cheerleaders for the Beijing art scene are Yang Bin, an automobile-
franchise mogul, and Zhang Rui, a telecommunications executive who is also the backer of
Beijing Art Now Gallery, which took part in Art Basel in June, one of the first Beijing galleries to
appear at the fair. These two do more than collect art. They have hosted dinners for potential
collectors, organized tours to Art Basel Miami Beach, and brought friends with them to sales in
London and New York. Zhang Rui, who owns more than 500 works, has lent art to international
exhibitions, most notably the installation Tomorrow, which features four "dead Beatles"
mannequins floating facedown, created by artists Sun Yuan and Peng Yu for the 2006 Liverpool
Biennial, which rejected it.
Zhang is now building an art hotel, featuring specially commissioned works and artist-designed
rooms, outside the Workers' Stadium in the center of Beijing. "I am trying to think of ways of
changing my private collection into a public collection," Zhang explained to ARTnews through a
translator. It isn't financially advantageous to do this in China, as no tax benefits accrue from
donations to museums or other nonprofit institutions.
Zhang Rui represents the handful of Chinese collectors who are public about their activities and
are building noteworthy collections. Far more typical of buying activity in China is the rampant
speculation taking place in the mainland auction houses. There are 1,600 registered auctioneers,
and their sales attract hundreds of bidders. Chinese buyers are more comfortable with auction
houses, which have been in business since 1994, than with galleries, which weren't licensed to
operate by the government until the late 1990s.
These auction houses run by their own rules, generating what sometimes seems like a "wild, wild
East" atmosphere. It is, for example, fairly common for a house to get consignments directly from
artists, who then use the sales to establish prices for their works on the primary market. More
often, now that China has hundreds of galleries, dealers come to a sale with buyers in tow,
publicly bidding up works to establish "record prices" and advertise their artists. This kind of
bidding ring would be considered illegal in the United States, but in China it is viewed as a savvy
business practice. There is little regulation of auction houses and few developed legal norms in
the field, so that even when buyers have grievances-with fakes and forgeries, for example-they do
not feel they can resort to the law. Bidding is a social as well as a business activity, and buyers
are happy to flaunt their status by paying record prices or quickly flipping artworks, not only for
profit but so they can boast of their short-term gains.
As the domestic market for contemporary art matures, however, many of these practices are
coming into question. "Two years ago it was more necessary for me to bring my artists to
auction," says Fang Fang, owner of Star Gallery in Beijing, which specializes in young emerging
artists such as Chen Ke and Gao Yu. "Now that the gallery market has increased, I find it is better
to keep my artists out of the auction rooms, and there is much less reason to sell there."

5. Two mainland firms, Beijing Poly International Auction Company, and China Guardian Auctions
Company, dominate the field of contemporary Chinese art. Their combined 2007 total of more
than $200 million in sales represented nearly two-thirds of all auction sales in this category in
mainland China for the year. Last spring Guardian achieved $142 million in sales of classical
artworks, furniture, ceramics, silver, and coins, and $40 million in sales of contemporary material.
The latter figure included the $8.2 million fetched by Liu Xiaodong's Hotbed No. 1, a record for a
painting sold on the mainland. In a similar range of sales last spring, Poly sold $130 million worth
of works, including $27 million in a single evening contemporary-art sale. (These figures
represent a slight decline for the year because both houses held benefit sales for Szechuan
earthquake victims, raising more than $20 million to support relief efforts.)
Poly and Guardian reflect two vastly different perspectives on the domestic market in Chinese
contemporary art. Guardian is the oldest and most respected auction house in China, founded in
1993 by Wang Yannan, daughter of Zhao Ziyang, the former Communist Party leader who was
placed under house arrest after opposing the government's use of force against demonstrators at
Tiananmen Square in 1989. If Poly is known for its vast resources and willingness to make deals
to nab consignments, Guardian is known for its respected specialists and long-term client
relationships. For example, when the Museum of Fine Arts, Boston, decided to sell 20 pieces of
Qing dynasty porcelain in mainland China, it consigned the collection to Guardian.
The atmosphere of a sale at Poly or Guardian is surprisingly similar to that in the salerooms of
Christie's or Sotheby's. The catalogues are identical in design, and the bidding proceeds in an
orderly, even sedate, fashion, despite the crowds of spectators in the room.
"From our beginning, we studied what the principles of an auction house should be, and we stick
to these principles," says Guardian president Wang. She also serves on the board of the new
nationwide auctioneers' association, which hopes to enforce regulations on the auction market.
Poly is an enterprise within the China Poly Group Corporation, a $30 billion conglomerate that is
the privatized branch of the People's Liberation Army. Established initially to repatriate artworks
and antiquities, Poly has spent $100 million buying objects such as the bronze animal heads from
a water-clock fountain that were looted from Beijing's Summer Palace by British and French
troops in 1860; the pieces later turned up in the West. The repatriated objects are showcased in
the Poly Art Museum in the sparkling New Beijing Poly Plaza, a glass-enclosed tower designed by
Skidmore, Owings & Merrill.
The more freewheeling Poly is known for practices such as putting up for auction works from its
own collection or having consignors guarantee that they will bring buyers to the sale to meet low
estimates. Still, even here there are signs that the market is maturing and has become too
expensive for casual speculators. "These collectors that you are talking about are actually quite
small collectors," explains Zhao Xu, senior consultant at Poly. "They bought for several years at
very affordable prices, but now that prices are skyrocketing, the only way they can afford to buy is
to sell. The collectors that I know already come from a high social status, and they can afford to
buy pieces worth $1 million or $2 million and are looking for the best works, the masterpieces, to
add to their collections."
When asked if Poly follows the rules of the Western auction houses, Zhao sharply retorts,
"Sometimes even Sotheby's doesn't follow the rules." Or as Gong Jisui, an art-market specialist

6. who is a professor at the Central Academy of Fine Arts in Beijing, says, "The Chinese learned this
game of speculation from the Westerners who played it first."
The incident to which both men are referring is the sale of the Estella Collection at Sotheby's
Hong Kong on April 9 of this year. The event reaped $18 million for 108 works. (An additional 80
works will be up for sale this month at Sotheby's New York.) The collection was put together from
2003 to 2006 by New York dealer Michael Goedhuis for a group of investors that included Sacha
Lainovic, a director of Weight Watchers International, and Raymond Debbane, CEO of the Invus
Group, a private equity firm.
Last year the collection of approximately 200 works was sold to William Acquavella, who
consigned it to Sotheby's. Auction house officials will not discuss financial details, but Sotheby's
had a stake in the collection. After the sale it was widely reported that many of the artists were
angered by the auction because, they said, they had sold their works to Goedhuis at discount
prices in exchange for promises that the collection would remain together for public display.
"The idea was to keep the collection intact and to see it safely into some institution," says
Goedhuis, who denies that any promises were made. "The ideal situation was to see it with an
institution in China, because there is no such collection." The collection was published in a book,
China Onward, with an essay by leading China expert Britta Erickson, and it was exhibited at the
Louisiana Museum of Modern Art in Denmark and the Israel Museum in Jerusalem shortly before
the sale. According to Goedhuis, because of the rapid rise in prices, the investors chose to sell
the collection with hopes that it would not be broken up.
"Since the museums in China aren't mature enough nor are they rich enough to do an acquisition
like this, my hope was that Steve Wynn would do so for his sophisticated casino complex in
Macao," Goedhuis says. He turned to Acquavella because, he says, he believed the dealer
would bring the collection to Wynn; Acquavella paid a reported $25 million. Acquavella director
Michael Findlay laughs at the suggestion that there was any indication that the collection would
go to Wynn. "I think this whole thing is surrounded by so much rumor and speculation," he says.
"We bought a group of paintings, and we sold a group of paintings, and that's the whole story."
According to Maarten ten Holder, Sotheby's managing director for North and South America, the
firm received inquiries before the sale from several artists in the collection, wondering why the
works were to be auctioned. There is disagreement about whether Goedhuis made firm promises
to keep the collection together or merely made a sales pitch to artists that inclusion in the
collection would enhance their reputations. Yue Minjun, who had two works in the sale, says no
promises were made. And Goedhuis bought Zeng Fanzhi's Chairman Mao with Us from Hanart T
Z Gallery in 2005 for the asking price, $30,000, no discount given. It sold for $1.18 million.
"You have to understand that there was no market for this work when I was buying," says Howard
Farber, whose collection brought $20 million at Phillips de Pury & Company in London last
October. Farber assembled 100 choice works by assiduously visiting artists' studios in Beijing in
the late 1980s, accompanied by the Beijing-based critic Karen Smith, a leading author and curator
in this field. A work for which he paid $25,000 in 1996, Wang Guangyi's Great Criticism: Coca-
Cola, was sold at Phillips de Pury for $1.6 million. The buyer was Farber's son-in-law, Larry
Warsh, who bid on several works at the sale, according to newspaper accounts. "I really didn't
actually know I was going to buy the Wang Guangyi until that moment," says Warsh. "Howard has

7. his collection, and it's not my collection, and there were many pieces I wanted from that collection
that I would have wanted to buy but couldn't afford."
Many Beijing artists had agreements with Warsh to produce work for his collection and his art
advisory business, which began in 2004, inspired by Farber's example in the field. "I was
enamored by China, and then I was enamored by the art of China as I learned about important
artists," says Warsh. "But what really hit me first was how the pricing did not make sense to me
at all-everything was out of whack."
Warsh, who amassed a collection of works by Jean-Michel Basquiat, Keith Haring, and Kenny
Scharf in the late 1980s, was the publisher of the now-defunct Museums Magazine, which he
sold to LTB Media in 2004. He stated at one point that his collection totaled more than 1,200
works; now, he says, he owns approximately 400 paintings and photographs. Part of his collection
is managed by his new business venture, AW Asia, which has a gallery in Chelsea and intends to
assemble collections of Chinese contemporary art for museums and major private collectors. The
Museum of Modern Art in New York recently acquired 23 photographs from AW Asia.
With Farber and Warsh circulating in Beijing for a variety of purposes, it was easy for Chinese
artists to become confused about who was buying for whom and for what purpose. In recent
interviews, several artists-most notably Zhang Xiaogang, who had an agreement with Warsh-
pointed to him as an example of a speculator.
Warsh replies, "While some artists are not so pleased with their decision to have sold quantities of
artwork at what was then their current values not so long ago, there are many artists who are not
resentful and actually pleased that someone has taken an interest in their work."
New York dealer Jack Tilton, who has worked with Chinese artists since 1999, says, "All of these
artists are hoping that their work finds good homes rather than getting churned in the commercial
market. But they have also played a part in this market, embracing capitalism more than we have,
in funny ways. They are not naive about any of this stuff."
When asked about the artists' reactions to the sale of his collection, Farber was flabbergasted:
"So what? Now I am the bad guy. That pisses me off!"
A number of major collectors of Chinese contemporary art who have been in the field for some
time are holding on to their collections. Uli Sigg, Swiss ambassador to China, Mongolia, and North
Korea from 1995 to 1998, has built a collection of key works that he has toured in the exhibition
"Mahjong" to museums throughout Europe and, most recently, the University of California's
Berkeley Art Museum (September 10-January 4). Belgian collectors Guy and Myriam Ullens have
used their resources to establish the first nonprofit contemporary-art center in Beijing, where they
are currently exhibiting their historic collection. So far, collector Charles Saatchi has been
hanging on to his purchases in preparation for opening his new gallery in London on the 9th of
next month with a show of Chinese contemporary art; he has also launched a Chinese-language
Web site on which mainland artists can post their works.
In comparison with Western buying, mainland Chinese participation pales. Though there are
many rumors about the power of the new Chinese buyers, their presence has not been felt in the
major auction houses, where most of the records are being set. "Hong Kong right now covers the

8. global buyers, especially those from across Asia," says Eric Chang, Christie's international
director of Asian contemporary art. "I am not really seeing mainland Chinese buyers-less than 10
percent-a drop from around 12 percent." Dealers in China also have seen few mainland collectors
among their regular clients. "I don't know yet about collectors," says New York dealer Christophe
Mao of Chambers Fine Art, which recently opened a branch in Beijing.
Despite the current shortage of mainland art collectors, China is emerging as a major art center,
having become a hub for buyers from South Korea, Taiwan, Singapore, Indonesia, and Southeast
Asia, and for overseas Chinese from all over the world. Reflecting this diversity is the wide range
of foreign dealers among the 300 galleries in Beijing, including Continua from Italy, Urs Meile from
Switzerland, Arario and PKM from South Korea, Beijing Tokyo Art Projects from Japan, and Tang
from Indonesia.
"In Beijing it's getting increasingly difficult to talk about the Chinese market as a separate entity
from the broader Asian art market or the international art market," says Meg Maggio, an American
who came to China in 1988 and ran one of the first galleries in the country, CourtYard, in Beijing,
from 1998 to 2006. Now she has her own gallery, Pékin Fine Arts, where she represents
an international stable of artists. "How do you describe the market for a Korean artist showing in
China or a Chinese artist living in New York?" she asks, noting that her business can come from
South Korean collectors visiting Beijing or European companies doing business in China.
One factor in China's development as a center for contemporary art is the proliferation of art fairs.
Beijing has two, the China International Gallery Exposition and Art Beijing; Shanghai has the
newly created ShContemporary, now in its second year; and Hong Kong just launched ART HK.
CIGE director Wang Yihan says her fair attracted 40,000 visitors this year, while the more high-
toned ShContemporary brought in 25,000 and ART HK 08 had 19,000. These numbers may
seem small in comparison with the 60,000 who crowd Art Basel, but dealers believe that the fairs
in Asia are worthwhile because they attract new buyers and make Asian collectors feel more
comfortable about acquiring art from galleries.
"Anywhere else, a fair is just a fair," says Lorenz Helbling of ShanghART, one of the oldest
galleries in China and a participant in Art Basel. "But in Shanghai a fair feels like so much more
because only there can it make an impact on several million people." He is referring not only to
attendance but to the intensive publicity and official recognition given to ShContemporary in its
inaugural year.
Just a few years ago it would have been impossible to try to sell contemporary art to Asian
buyers, let alone mainland Chinese collectors, in the public forum of an art fair. Now, with the
astounding success of Chinese contemporary art, collectors from across the region-and more
than a few from the United States and Europe-are targeting China as a destination. According to
Nick Simunovic, who has opened an office and showroom for Gagosian Gallery in Hong Kong, it
is only a matter of time before these regional buyers turn their attention to Western contemporary
art.
"My sense is that wherever you have tremendous wealth creation, the collecting cycle goes
through three phases," he says. "First, people collect their cultural patrimony, and then they
collect their own contemporary art. I think the final stage is when they gain a more globalized
contemporary-art approach."

9. Gagosian first considered opening an office in Shanghai but encountered obstacles to doing
business on the mainland. The most formidable of these is a 34 percent luxury tax on art, which
foreign galleries that participated in ShContemporary found difficult to avoid. Hong Kong, by
comparison, is a duty-free zone. And Simunovic found that even Jeff Koons was a tough sell in
Shanghai, whereas Hong Kong offers more possibilities for Western contemporary art. Just a year
ago Hong Kong billionaire Joseph Lau paid $72 million for Andy Warhol's Green Car Crash
(Green Burning Car I). In May Christie's brought a Warhol portrait of Mao, valued at $120 million
and for sale privately, for viewing in Hong Kong. (At press time it had not yet been sold.)
"Sure, China is hot, but that's just the peak of the iceberg," says Lorenzo Rudolf, former director
of Art Basel and cofounder of ShContemporary. "This is not just about a group of Chinese
painters. It's about a growing market going on in this continent."
With the sheer abundance of galleries, auction houses, and art fairs in China, the larger art world
is recognizing the power of the Asian market. Standing in an auction house in New York or
London watching paintings by Chinese artists sell for millions, one can grouse about this boom
and hint that it will turn out to be a bubble. But strolling in a bustling gallery district in Beijing, with
students and tourists crowding the cafés and boutiques and filling the huge art
showrooms, few would predict a downturn in the near future.
Portrait Artists
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