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
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.