The content, method and aim of the art history education -- Focus on 'how to write art history' (藝術史教育的內容、方法與目標─以「如何寫作藝術史」為中心) - LV Peng, 呂澎

The 'attitude' that can not retreat: The experimental art studio of Central Institute of Fine Arts (沒有退路的「態度」：中央美術學院的實驗藝術工作室) - LU Huan, 盧緩

Marching in imagination: Thoughts on the experimental teaching (在想象中濳行:關於四川美術學院實驗性教學的思考) - YU Ke, 俞可

Fine arts college system and contemporary art experiment: About contemporary art experimental courses in Guangzhou Fine Arts College (美術學院體制與當代藝術實驗:關於廣州美術學院當代藝術實驗課程) - HUANG Xiaopeng, 黃小鵬

The open education running example of Shuang Bai Studio (上海師範大學油畫系雙百工作室開門辦學實例) - LIU Dahong, 劉大鴻

Hope popular art management is not something following the fashion (藝術管理發燒, 希望不是趕時髦) - WANG Nanming, 王南溟, MA Lin, 馬琳

Contemporary art education in Chinese Fine Arts College: A complot of a drawing and countless drawings (當代藝術教育在中國美術學院:一張圖紙和無數張圖紙的共謀) - YE Nan, 葉楠

On 'quartet afterwards' 炮轟「馬後炮」 - XIANG Liping, 項麗萍

Between pursuit and escape: The analysis on Wang Niandong's painting (在追求與逃離之間: 王念東油畫作品析) - WANG Lin, 王林

The space of self-prisoner: The analysis on the mental mode of Li Wei's painting (自囚者的空間: 李威繪畫的心理模式分析) - FU Xiaodong, 傅曉東

About contemporary calligraphy (書是書非：關於現代書法的札記) - GAO Shiming, 高士明

Ficticious narration: On the invitation exhibition 'Varied images' of China's contemporary paintings (虛構的叙事: 關於「變異的圖像」中國當代油畫邀請展) - LU Hong, 魯虹

Art in motion: Contemporary art dialogue (恒動: 當代藝術對話)

Transcendent China: Its landscape and form (excerpt) (超驗的中國：它的自我景觀和形式'節選') - ZHU Qi, 朱其

The female posture in Yan Fan's painting (楊帆繪畫中的女性姿態) - GUO Xiaoyan, 郭曉彥

'See into things behind the scenes': On the philosophical stance and artistic methods in Wang Mai's work (「看到表象背後的東西」: 王邁藝術中的哲學立場和藝術方法) - ZOU Yuejin, 鄒躍進