In the past 20 years, Beijing has always been yielding energy for Chinese contemporary art. “Made in Beijing” is more than an art conception; instead it represents a characteristic way of survival led by Chinese artists, which seems to be totally different from their counterparts in New York, and the western foundation-based art system. Beyond pop art, cynical realism and post-sense sensibility in the 1990s, and sociological films at the present, the genuine motive power for the prosperity of Chinese contemporary art comes from the public, the “help-yourself” art village and factory-based art making by Beijing artists.“Made in Beijing” is a characteristic economy model emerging from the transition from solely public ownership economy to public ownership economy co-existing with non-public ownership economy. In the meantime, the "Chinese Avant-garde Art Exhibition 1989" symbolizes the awakening and rise of artists’ spiritual freedom and also it drove Chinese modern art onto the global arena. This laid the foundation for the formation of “Made in Beijing” mode, whose popularity steadily grew to its peak presently, thanks to the continued Western interests and praises for Chinese modern art and the pressure from the existing system.In this exhibition, we invited artists including Huang Yan, Zhu Qingsheng, Cang Xin, Wen Pulin, and Wang Wangwang. The precious films and images documenting the "Chinese Avant-garde Art Exhibition 1989", recorded by Wen Pulin, will re-create the world-influential artistic event for audience.Cang Xin, being a participant in the Chinese rural art movement, together with Ma Liuming has performed one of the earliest China performance art works “Add One Meter to An Unknown Mountain” in Beijing Eastern Village. In the present exhibition his landscape photography still shows his persistent concern about the structural relationship between human and nature, and between humans and other living creatures.Market Determinism has become a prominent phenomenon in Chinese contemporary art scene. While blurring the border between artworks and commodity, it alters the function of art greatly. Wang Wangwang, from the perspective of an advertiser in this commercial society, with extreme sarcasm observes the loss of individual identities in blind material pursuits.Using the Internet media Zhu Qingsheng’s interactive works “Let's Wash the Yellow River” and the book installation try to involve the audience in artist’s creative ideas. This highly conceptual plan demonstrates the diversity of Beijing artworks and dispels the misconception of “Made in Beijing” as just production in art workshops.As the curator and participating artist in this exhibition, Huang Yan expresses his view on humanity and society in a unique way. He is also known as an activist bustling around all the artistic bases in Beijing. In this exhibition he abandons the routine theme-oriented exhibition model. Utilizing his knowledge about Beijing artistic geography and background, Huang introduces the idea of “Made in Beijing” as a clue to outline the model of Beijing contemporary art and examine it as a research subject.