没顶画廊在春季“新人”群展不免让人联想起世纪之交,被上一代年轻人占领的比翼艺术空间。展出作品多以轻量级和临时性项目的面貌出现,名单长作品众,从地面蔓延到天花板,高密度的布展方式像是个迷你的博览会。没顶画廊,这个升级版的比翼早已没有当年机构面对选择非营利还是商业身份的困惑,如此时机对新一代年轻艺术家的推出显然是出于画廊经营策略的考虑。没顶画廊已经越来越像一间“画廊”了。展览中所呈现的创作面既丰富又稍显平均,沈莘对艺术家社会性身份的探讨及李维 Noble gallery in the spring “rookie ” group exhibition can not help but think of the turn of the century, by the previous generation of young people occupy the wings of art space. Most of the works on display are in the form of light-weight and ad hoc projects. The list of works spread from the ground to the ceiling. The high-density exhibition is like a mini-fair. No gallery, this upgraded version of the wing has long been no choice when faced with institutional or nonprofit business identity of the confusion, so the timing of the launch of a new generation of young artists apparently out of gallery business strategy considerations. Top Gallery has become more and more like a “gallery”. The creative aspects presented in the exhibition are both rich and slightly average. Shen Shen’s discussion of the artist’s social identity and Li Wei