This book explores quotidian moments of daily life in the oldest urban areas of Bejing (called hutongs) and Beigou, a village in the shadow of the great wall mountains. In tongue-in-cheek fashion we have asked ourselves if these situations could exist as contemporary art installations, and if so, what might the titles and materials be? Would these works be celebrated and recognized in the white cube of the contemporary gallery or museum? Might the artists be awarded million-dollar grants for their ingenuity? We hope the reader will understand that we have sought to view these hypothetical installations with reverence and surprise rather than condescension. This book seeks to call attention to the absurdity of the ever-widening, self-referential written and visual vocabulary of contemporary art, even as we acknowledge our own complicity. This book was the part of Yellow: Pop Up Exhibition
这本书的素材来自北京市区国旺胡同与北京市郊北沟村的日常生活。这本书使用诙谐的口吻质疑了当代艺术装置的存在性和可行性：这些日常生活中事物的放置和实用性的堆叠，如果给它们安上标题年份和创作信息，将它们安置在白净，简约的美术馆和画廊里，它们是否统统会摇身一变成为当代艺术装置作品，而这些不知名的“艺术家”们，是否也会像知名当代艺术家们一样因为他们的“创作”获得金钱和名誉。我们希望读者能够明白，我们试图用欣赏和惊喜来看待这个假设，而不是试图嘲讽任何人任何事。
本书旨在提醒各位当代艺术在创作，生活，审美和体验之间薄弱的边界。于是我们创作了这本书去批判和思考当代艺术这个荒谬的局限性，然而， 作为当代艺术家的我们也许也是“共犯” 。
Jiemei Lin & Joe Hedges
Jiemei Lin was born and raised in Hanzhou, China, an ancient epicenter of culture and contemporary locus of technological innovation; Joe Hedges grew up in a small farm town in Ohio surrounded by corn fields and cows.
Lin and Hedges met in graduate school at the University of Cincinnati in Ohio, United States and developed a friendship rooted in critical creative exploration and cultural exchange. That relationship blossomed into a marriage and lifelong partnership that spurred various curatorial and fine art exhibitions and performances at venues including The Contemporary Art Center in Cincinnati and 798 Art District in Beijing.
Individually, Lin’s works frequently take on themes of individual and cultural identity with a keen eye for design and color while Hedges’ paintings, prints, installations and web projects explore the links between science and art through the visual language of the experiment and the archive.
林介眉出生在中国杭州，乔哲思则是在美国俄亥俄州南部的一个农业小镇出生，与千年古镇和逐渐发展的新兴互联网产业中心的杭州不同的是，直到今天那个小镇也只有漫山遍野的玉米和奶牛。两位艺术家是在辛辛那提大学的艺术学研究生课堂上相遇的。他们互相批判和评论创作思维,交换文化，见地和经历，从同窗好友渐渐变成了人生伴侣。 兩人共同学习到一起创作，策划各种展览和观念装置与行为艺术。他们的足迹横跨辛辛那提当代艺术中心直至北京的798艺术园区。
林介眉的个人作品往往在谈论个体文化，标签与个人身份认同之间的关系。她的艺术创作收到许多平面设计的影响。乔哲思则喜爱探索科学技术与艺术，艺术史之间的关系，他的创作媒介非常多样：油画，装置，新媒体艺术等等。
