Since early 2000, modern and contemporary Chinese art being brought to Indonesia showed an immense aggression and expansion. This aspect applies to the number of artists, the amount of works and exposition. By mid 2008, approximately 150 Chinese artists had visited Indonesia. Some Chinese artists appear and work alone, leaving behind a strong identity, while others come in groups. Almost all of the works done by Chinese artists are admired and classified as mature, fresh and challenging works.

　　The success of the Chinese art expansion was not only apparent to the Indonesian art circle.

　　In fact since the mid 1990s Chinese artists have been actively participating in various art exhibitions around the world. Collectively, their bodies of works are regularly exhibited at large commercial galleries, museums, various biennials and art fairs. Their works have also dominated the auction houses.

　　Chinese art that has been shown to the world is categorized as, and included in, the realm of contemporary work. Chinese contemporary art owes its current recognition to the Avant Garde, 1989. This school of thought signals the beginning of post-Mao China. With the birth of China as a modern economic giant, the country's fine arts flourished. The subjects are regularly discussed and positioned as a brand in international art gossip. Art observers around the world are curious about the survival of discourse after being crushed by the Cultural Revolution. Many question how the new art will be displayed. Will it reflect an artistic excellence which matches the country's 3,000 years of high culture?

　　Like the Chinese, contemporary art is able to fulfill the demand of "perfection". Even though they do not have political motives, many Chinese painters attempt to voice their basic rights as "national artists". While the presentation of Chinese art creates a certain longing for the art, it is presented in bright soft colours, spatial space, quiet composition, with a silent atmosphere resembling a lake. Although the artist may want to describe an angry dog, he executes it so brilliantly that the subject appears perfect. Then, the world that is in a state of commotion is portrayed as calming. Likewise, following the ying yang harmony of Taoism, the hot and stuff' Earth is soothed by the sudden drizzle. Just like the wisdom of "emptiness is full", it signifies an empty space that holds a thousand meanings.

　　Art observers are aware that the final price of this art is closely con- nected with China "new capitalism". Since 15 years ago art in China has been regarded as part of the culture industry that is continuously advancing. Their winning formula demands perfection. Only art that has attained world standard is allowed to be exported. Thus, the combination of this philosophy, promotional shrewdness, and financial support by China's new rich manages to shake the global market while yielding exceptional artworks at the same time.

　　The infrastructure and superstructure support provided by China are not the only factors that contribute to the successful expansion of Indonesian Chinese paintings. This successful expansion also credits local Indonesian art promoters. Art promoters, who often function as gallery owners and art collectors, cooperate with art critics and curators who are willing to cover art reviews aggressively. Then, under the pretext of "offering a new comparison for art lovers in Indonesia", Chinese art trade efforts in Indonesia appears to be more valid and meaningful. This is a reality which is widely welcomed by the art community.

　　Contemporary Chinese art's distinctive characteristics prove a major influence on many young Indonesian artists, previously influenced by 150 years of Western modern art. Very soon, traces of Claude Monet, Jackson Pollock, Pablo Picasso, Wasilly Kandinsky, and Andy Warhol, are replaced by the careful and gentle sweep ofYue Minjun, Fang Lijun, Yu Xiaofu, Ai Xuan, Yang Feiyun, Guo Jin, Zhong Biao, and Yang Qian.

　　It is no secret that many of these influences come from various perspec- tives and motivations. The first is the frenzied market of active trading, which causes Indonesian artists to include elements of Chinese contemporary art in their own works. The second is because the visual aspect and the market are united. Finally, pure visual aspect makes up the third factor.

　　One important question that comes to mind is how does Ahmad Su'udhi get his influence from the Chinese art? It turns out that the artist is interested in both the visual and the market aspects of Chinese art, though he regards the visual aspect side of it more highly. To Ahmad Su'udhi, the visual side that has successfully propelled his works to their heights is pure coincidence that he could not have predicted.

　　Next we look at his painting entitled Hm..mm...Segaaar (Hm..hm...Fresssh, 2007). This work revolves round the idea of child who is floating in a pool. The boy appears to be holding a young coconut and drinking the water. The object is placed in the middle of a plain clear field that is split in two. The artist uses light blue to highlight the clear blue sky and dark blue to emphasize the depth of the ocean. Indeed, the simple, clear, light, joy refers to freedom, just like a scene from a contemporary Chinese painting.