Some artists and critics who are mentioned in the body of the text and
in the notes have been of crucial importance in the making of this book.
There are also other individuals who cannot be acknowledged anywhere
else but here. I would like to join these names now and thank them
all, whether they have provided me with a valuable tip or a constant
flow of information and support. They are: James Carl, hungry art-
ist; Chen Xiaoming, critic of Chinese literature and culture; Rey Chow,
critic of Chinese culture; Pascale Coulette, Ph.D. candidate (Chinese
anthropology); Annie Curien, sinologist; Dai Jinhua, critic of Chinese
culture; Joel Fronteau,
exegete; Gao Minglu, art critic; France
Guevin, acupuncturist; Hu Min, Ph.D. candidate (Chinese film); Hu
Xiangwen, Ph.D. candidate (Chinese film); Guy Huot, my brother; Lin
Qing, Ph.D. (comparative literature); Lil Tonglin, critic of Chinese lit-
erature; Catherine Mayor, M.A. (Chinese advertising); Frank Muyard,
Ph.D. candidate (Chinese sociology); Danielle Noiseux, librarian at the
Centre d'Etudes de l'Asie de l'Est, Universite de Montreal; Elisabeth
Papineau, Ph.D. candidate (Chinese anthropology); Reynolds Smith,
Maura High, and Pam Morrison at Duke; Xu Bing, artist; Xu Xiaoyu,
journalist; Wang Yichuan, professor; Wu Wenguang, video maker;
Zhang Yiwu, critic of Chinese culture; Henry Y. H. Zhao, editor.
My closing words sound like a will. I thank (without much money to
ofTer) my two research assistants, for whom I was a "red guard": Sebas-
tien Bage (especially for his thoroughness in the final technicalities, for
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