摘要
徐震转变为没顶之后凸显出的无名的生产特征，究竟是一种艺术创作上的策略，还是出自一种对于体制的自觉反思？或许，二者之间的关系才是那把打开没顶之门的钥匙。
Xu Zhen’s MadeIn moniker is a hotly debated new guise for an artist who has continuously challenged his own identity.Bao Dong charts the tricks of anonymity and asks whether the pseudo-corporate name change is just a ruse,or a defense against the enemy within.
出处
《艺术界》
2010年第4期132-139,共8页
