An exhibition could perhaps be regarded as the discovery of a community of tastes. This discovery is different from such approaches as to situate chosen works in the narrative of art history. It’s also not about trying to break away from the confines of art history and classifying the works of art as conceptual or intellectual materials in order to make possible a certain “discovery” in the history of thought. If we must forego the two previously mentioned options, we can only say that from the works we have chosen for this exhibition, we’ve discovered a community of tastes hidden inside of our heart. Based on a certain criterion, this community of tastes comprises of such a plurality of manifestations as “the luxurious taste”, “the prudent taste”, “the vulgar taste”, “the preference for freedom” and so on. The extent of differences, contradiction, and even “opposition” among them mirror the current state of the expanded concept of Chinese contemporary art.To uncover a community of tastes and to develop an exhibition concept based on it signals increased tolerance. When we examine the forms (media) the exhibited works take on, we realize the divisions of tastes among them, even though this kind of phenomenon (contemporary art as a “totality”) was unlikely to surface in the 1980s. Our point is that the classic forms (media) of contemporary art, such as painting, installation, photography, and performance, etc. tend to elevate the forms of art to be above its content - it’s a kind of taste that requires excessive mental power in order to fully understand these works. The ultimate interpretation of the works has to be attributed to certain painstakingly established rituals. On the other hand, in another genre of art, independent films, particularly documentary films, we notice a different taste emerging - almost all of them are representations of images that can be examined by our plain eyes. If we turn to those artists who have made these artworks, studying their status in the society, or investigating the cultural capital and power at their disposal, we may by chance find some reasons accounting for the diversification of tastes-probably this is just a self-assumed, and “evil-intentioned” idea.The Inaugural Exhibition of the Iberia Center for Contemporary Art consists of three sections, main exhibition, independent films and Spanish Art. For us, the genuine principle underlying our selection is taste, though we dare not to make a hasty conclusion as to whether they belong to three different taste systems or not. In summary, “Community of Tastes” as a theme at least leads us to three questions. Firstly, the relation between the choice of media in art and tastes (which contains further in-depth questions); secondly, whether the tastes of the curators will face challenges from themselves; and thirdly, what taste will be on display eventually?