The original English version of An Exhibition about Exhibitions: Displaying Experimental Art in the 1990s (originally titled Exhibiting Experimental Art in China) was published by the Smart Museum of Art, the University of Chicago in 2000. It was authored by Wu Hung, a contemporary art historian, and professor at the University of Chicago. The contents include Foreword, Exhibiting Experimental Art in the 1990s, An Exhibition about Exhibitions, It’s Me: A Case Study, Twelve Experimental Exhibitions A Document History and Appendix. The Appendix includes a  chronicle of Experimental Art Exhibitions in China (1990-2000). Focusing on the exhibitions on Chinese contemporary art from the early 1990s to 2000, the book introduces a number of significant exhibitions held during the period talking about the aims, organization, and the challenges they faced. These topics had drawn much attention from many experimental artists, art critics, and independent curators in the 1990s and had fostered the interlinked activities and discussions among them. Such issues about exhibition do not just concern exhibition itself; rather, they are closely related to such fundamentals as the functions and significance of contemporary art in China and its relationship with the society. During this period, many original exhibitions were conceived and organized, and many influential artworks were created and made for specific exhibitions, which constitute “a moment of the exhibition” in the latter half of the 1990s. Before contemporary art was “normalized” at the beginning of the 21st century, they exhibit a strong power and cohesion hardly seen even in the world art history. Today, nearly 20 years later, exhibitions of contemporary art have already become an undoubtedly essential part in Chinese fine arts, with thousands of contemporary art museums, galleries and other exhibition venues launching new exhibitions at a rapid pace, attracting the audience from home and abroad. Nevertheless, the negotiation between being experimental and being public still determines the identity and social significance of contemporary art. The historical experience from the 1990s is still of practical significance when we reflect on these issues, it deserves more attention from us in the study of Chinese contemporary art.