Critical Eye: Now, Not When

LAST SPRING, United Motion took part in the gr oup exhibition “Genders Engender” at the nonprofit Taikang Space in Beijing. The show reflected the tenuous relationship between the Chinese art world and feminism. Potentially troublesome, for example, was the seeming contradiction between t he curatorial text for “Genders Engender,” which states that the show did not pr esent “feminist art,”10 and the fact that the great majority of the eleven individual artists and gr oups selected were Chinese women dealing with issues of representation, social justice, and gender bias.