江衡是中国“卡通一代”重要艺术家代表之一，他不在思考画面的所谓深度，在绘画语言上直接消解了油画语言的纯粹性和学院特征，故意以画广告、画卡通的视觉叙述切入社会生活。江衡主要是以青年人生活的“梦想”和期待来切入时尚风潮。

　　假如说，在大众传媒，在流行风潮，在都市时尚没有走进人们的家庭之时，人们的知识、信仰大多是和深度文化，是和英雄人物的坚苦卓绝之类的壮举相联系。而当大众传媒把消闲商业化，把趣味企业化，把人们的感觉享乐以最为科学和艺术的手法“挖掘”成为商业资源之时，人们的梦想便发生了实质性的变化：即他们崇拜的偶像便是流行时尚的“弄潮儿”，个人生活及至理想生活开始“卡通化”。

　　这正是江衡作品所关注的焦点。

　　――马钦忠(1997)

　　Jiang Heng is one of the important representative artists of China’s “Cartoon Generation”, he is no longer concerned with the so-called depth of the image; in his artistic language, he has dispelled with the homogenous language of oil painting and the characteristics of academic painting. He has purposefully intervened in social life with his visual representations in advertisement and cartoon style. Jiang Heng primarily makes intersections into popular trends through the “dreams” and expectations of young people.

　　Hypothetically speaking, before mass media, popular trends, and urban fashion entered the home, people’s knowledge and beliefs were related to profound culture and the heroic undertakings of historical figures. However, when mass media commercialized entertainment, made interests into entrepreneurial opportunities, and turned people’s enjoyment into business resources with its scientific and artistic approach, people’s dreams underwent a fundamental change. The idols they looked up to were now the “pioneers” of popular trends. Private lives or even the ideal life began to be “cartoon-ized”.

　　This is what Jiang Heng’s works focus on.

　　――Ma qinzhong(1997)

　　虽然江衡的艺术创作在不同阶段里呈现了完全不同的面貌，但有一点却是相同的，那就是他始终以流行文化与消费文化的方式切入艺术创作，并由此表达了相关的观念。用他自己的话说，他是希望突显出流行文化与消费文化所带来的巨大诱惑以及种种异化现象。

　　最早使江衡出名的是90年代中期创作的《美女·鱼系列》。在这一系列作品中，他常常是以带有妩媚表情与标准化风格的“都市美女”作为艺术品的主角，并试图将时尚化、虚拟化的生活方式加以波普化的艺术处理。结果不仅在很大程度上暗示了当代青年人特立独行与崇尚自我的生活状态，也充分暗示了西方文化、流行文化与消费文化对他们的巨大影响。这一点人们完全可以从画中美女的发式、衣着、肢体语言与化装样式中看出来。而围绕美女的小红鱼则以幽默、调侃的方式把“年年有余”的传统观念转变成了一种时尚因素。

　　――鲁虹(2002)

　　Albeit the different appearances shown throughtout Jiang Heng’s artistic career from different periods, one thing has been constant is his entry to artistic creativity through popular culture and consumer culture, in with which to convey relevant concepts. Using his own words, he likes to highlight the irresistible lure and various kinds of phenomenon from popular and consumer culture.

　　The early work Beauty-Fish created in the mid - 90’s, was Jiang Heng’s earliest signature piece. In this series of paintings, he granted the “beautiful city girls” – the protagonists in this series, with flirtatious facial expressions and standardized styles, in attempt to convey the fashionable and fictional lifestyle from a pop art approach. As a result, not only has it underscored the self-centered and self-reverent lifestyle of the young generation, but also thoroughly underlined the great impact of western culture, popular culture and consumer culture on this generation. The works are coded with the beautiful girls’ hairstyle, attire, body language and make-up. Moreover, the red fish circling around the girl conveys the traditional idea of “niannianyouyu” (eternal prosperity) transformed into a fashionable element with humor and satire.

　　――Luhong(2002)

　　世人所熟悉的江衡的艺术，便是他那几乎千篇一律的符号化的媚眼美女，她们傻笑着，做着各种符合世俗要求的媚态和表情，传递着一种或可称之为“天真”与“美丽”的性别信息。从某种意义来看，我觉得江衡的媚眼美女像是一句重复出现的反语，述说着与表面信息完全相反、甚至是相互抵触和冲突的内容。

　　——杨小彦(2007)

　　Today, Jiang Heng’s art people are familiar with is his repetitive symbolized beautiful women gazing with flirtatious eyes, they smile innocently, posing in various flirtatious poses and expressions that satisfies the secular standard. They display this kind of so-called “naïve” and “beautiful” gendered information. To a certain extent, I think Jiang Heng’s women with flirtatious looks is a repetitive statement of sarcasm, it conveys information contrasting with its superficial appearance, or even of opposing and conflicting content.

　　―――Yang xiaoyan(2007)

　　实际上，江衡是90年代中期以中国广州为中心展开的“卡通一代”美术运动中最具代表性的艺术家。在中国美术史上甚至世界美术史上，将卡通或漫画、动漫等作为绘画体裁，甚至掀起以此为主体的美术运动还是首次。这次美术运动在中国南方广东省以广州为中心波澜不惊地开展时，正赶上以北京为中心的“玩世现实主义” (Cynical Realism) 和“波普艺术”(Political Pop)完满落幕的时候。这两场运动提倡的理念有着明显的不同。与前者反对官方主流的强烈要求相比，“卡通一代”则是一次寻找是什么给人们带来了影响、反省自身的成长历程，质询内部世界本质的航行。

　　----李振铭(韩国2007)

　　As is widely known, Jiang Heng is a leading player of the Guangzhou-based Cartoon Generation that dominated the Chinese art world in the late 1990s. It was a rare phenomenon not just in China but the entire world that cartoon or animation emerged as a major artistic movement in painting. The movement began in Guangzhou, a city of southern China, by the time when the Cynical Realism and Political Pop in Beijing were nearing the end of their success. These two art movements were running for different goals. The first was, for instance, a powerful message for the outer worlds, social and political worlds, whereas the second, Cartoon Generation, was a journey in which artists were seeking after a question of identity concerning the questions, what affected us and how we grow.

　　―― Lee Jin-myung(Korea，2007)

　　江衡所创作的《美女》系列作品，或者说江衡对我们时代文化的敏感及提升是以为“时尚美女”造像为切入点的。“时尚”正在成为我们这个时代的标志和面孔，而“美女”恰如是这一标志性面孔的表情。他通过具有广告的单纯、亮丽的色彩，又借用了中国传统年画和旧上海的月份牌画的平涂技法，将在商业文化影响下流行的“时尚美女”矫揉造作的姿态和暧昧矫饰心理状态直观地呈现出来，试图把当代中国正在兴起的消费社会中的时尚化、虚拟化生活加以典型化波普化地处理，用夸张的笔调具象地勾勒出这个时代物质与精神崇拜的生动且荒诞的情境，而戏谑的语言方式背后隐含的是他对当下生活的深刻关注以及严肃认真的反思。但他没有回到启蒙传统的老路上去展开批判，而是使用后现代主义的反讽手法进行戏谑和戏拟。有意模拟时尚流行文化的表征方式在于作者对当代中国过度膨胀的消费和时尚文化所进行的批判、质疑立场，尤其特别的是挪用了传统年画、国画中的吉祥图案作为画面的背景，强行拼贴出后现代与前现代文明的两种不同符号图式，于是作品进入到另一个层面--从当下现实的层面进入到一个历史的层面，这样，一个后现代的消费社会转向了一个前现代的乡土中国，从而凸现出当代中国巨大的文明落差，正是这种文明的巨大落差构成了江衡反思中国时尚消费文化的一个参照系。作品要表现的主题思想也集中于反思后现代主义式的消费时尚文化在这个时代的困境和荒诞性上。

　　---冯博一(2003)

　　Jiang Heng’s Femme Fatale series, or what we might call Jiang Heng’s sensitivity to and elevation of the cultural sphere, takes the Femme Fatale as its point of entry. “Fashion” is becoming the symbol and the face of this era, and Femme Fatale is just like the expression of this symbolic face. He uses the simplicity and glamorous color of advertisements, and also appropriates the flat smearing techniques of traditional Chinese nianhua and the old Shanghai Calendar posters. He directly showcases the affected posture of the “fashionable women” and their illicit psychological state under the influence of commercial culture. He attempts to stereotype the fashion and fictional life of the consumer society that is swinging into action in China, or presented in the style of pop art. Jiang applies an exaggerated painting style to concretely outline the vivid and absurd sphere of the material and spiritual obsession of this era. However, behind the satirical language, we uncover his serious concern for and meticulous contemplation of our present lives. However, he does not return to the traditional path of criticism, but applies a postmodern satirical approach in order to ridicule and mimic. His intentional mimicking of current popular culture reveals his critique and the uncertain stance of over-inflated consumption and trendy culture in China today. His appropriation of auspicious motifs from traditional nianhua and Chinese paintings as the background for his works forces together illustrative symbols of the post-modern and pre-modern, allowing his works to be elevated to another level – from the present realistic level to a historical level. Therefore, a post-modern consuming society shifts to a pre-modern folk Chinese style. As a result, the huge disparity in Chinese culture today is captured, and it is precisely this disparity that offers Jiang Heng a system of reference in his contemplation of the consumption of popular trends in Chinese culture. The central idea he attempts is to focus on the reflection of post-modern consumption of popular culture, and the confusion and absurdity of this time.

　　――Feng Boyi(2003)

　　江衡的美女和鱼构成了一个词：美丽社会。在某种意义上，我把江衡的这批绘画看作是一个文本，一个虚构的文本。

　　江衡的视觉具有一种神秘的灵异色彩，即画面好像一种亚洲资本主义走向极致后的乌托邦的显灵──纯粹的自由和纯粹的快乐，资本主义乌托邦所渴望的目标在亚洲新生代身上显灵了──就像电子写作和电子邮件所体现出的那种电子的灵性。

　　江衡的绘画就像在表达一种关于“美丽社会”的新月份牌经验：即试图通过一种美丽的入世景象示范一种赏心悦目的同时又简单明了的存在方式，重要的你不是想得太多，而是你不想就融入了那种快乐。

　　――朱其(2001)

　　Jiang Heng’s visual works have a sort of mysterious character, his images appear like an extreme capitalism transformed into utopia – pure freedom and bliss, the goal capitalist utopia longs for is realized in the new generation in Asia – like the flexibility of electronics in using a computer and emails.

　　Jiang Heng has portrayed a profound experience graphically without any historical reference: a kind of happiness and beauty in absence or emptiness. Those plump, happy, liberal, and unconventional new Asian girls make you feel uncertain about which city or street they are from. They are educated with the popular media of global capitalism; they use products from the popular culture industry, and move in the same cyberspace.

　　Jiang Heng’s paintings are like expressions of the new calendar experience of the “beautiful society”, he attempts to use a kind of beautiful image of social involvement to demonstrate a pleasurable yet simple way of existence, what is more important is not that you have over analyzed it, but that you have already been assimilated into that kind of happiness without being aware of it.

　　――Zhu Qi(2001)

　　江衡的作品充斥着消费时代和享乐主义的矫饰气息，那些极度华丽和感官性图像呈现的是“主体”亏空后的状态。

　　――黄专(2001)

　　江衡是老“卡通一代”了，说他“老”，不是年龄老，而是资格老。

　　上世纪90年代中期创作的《美女.鱼系列》。使他好评如潮，一举成名。其《满天星系列》，美女形象消失，物质商品形象铺陈画面。新创作的《散落的物品系列》，讨人喜欢的都市大美女回归画面中心，《满天星系列》中的枪、花朵、药丸只是带一点偶意的衬托在美女周围。评论家都着重他的“新月份牌经验”，避短扬长地消解油画语言的纯粹性和学院性，直接用擅长的广告手法绘制。艺术手法的观念表达与反思流行文化与消费的观念，在画面非常有效的达到一种思想的和谐和艺术的统一。这正是当代许多青年艺术家难以达到的，也是江衡独特的艺术价值之所在。

　　―――-谭天(2007)

　　摘之上海艺术博览会青年艺术家推介展(亚洲)

　　Jiang Heng is the old member of “Cartoon Generation”, and “Old” here does not mean his age but his qualification.

　　His art work “The Beauty.Fish” created in mid 90s last century brought him a lot of Praise and made him flash into fame. In the art piece”Open Herding”, the beautiful girls disappeared, replaced by images of substantial goods; in the newly created work “Scattering Articles “,the charming cosmopolitan beauties come back to the picture, surrounded by pistols, flowers and pills previously presented in “Open Herding” with some indications, Critics lay stress on his”New Calendar Image Experience”, skillfully avoiding the absoluteness and academism of oil painting language and drawing in an advertisement way which he is good at..Through this, the concept expression of art manner and the reflection on popular and consumer culture effectively achieve the perfect harmony of thoughts and unification of art in the pictures. However, this is so difficult for many contemporary emerging artists to achieve, and is definitely what Jiang Heng’s unique art value lies in..

　　------ Tan Tian(2007)

　　Shanghai Art fair Emerging  Artists  Exhibition(Asia)

　　看江衡的作品，很容易让人记起狄更斯《双城记》中的那些话：“这是最好的时代，这是最糟的时代;这是理性的时代，这是疑迷的时代;这是信仰的时代，这是迷茫的时代;这是希望之春，这是失望之冬;人们面前拥有一切，人们面前一无所有;人们由此升入天堂，人们由此坠入地狱。”

　　20世纪60与70年代，思想家对西方生活状态表示出了严重的关切，并提出过经典的批评，现在轮到了中国，在奔向现代工业化时，在城市化狂热进程中，艺术家发出的视觉声音，是对中国这种进程的回应与回音。

　　可以预期的是，过了2008，仍然是消费主义的时代，仍然是感官主义的时代，但是美女们在未来，是否还如江衡现在表述的那样，温情而媚眼，可能是一个值得警惕的提问。

　　――――曹增节(2008)摘之《像社会学家那样发出视觉的声音》

　　It is easy to be reminded of the opening words in Charles Dicken’s Tales of Two Cities when looking at Jiang Heng’s paintings, “IT WAS the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.”

　　In the 60’s and 70’s, thinkers showed great interesting in Western life, and have raised classic criticisms. And now it’s China’s turn, as it surges towards modern industrialization, in the process of fervent urbanization, the visual sounds emit by the artist are response and echoes to such progress in China.

　　It is predictable that, post-2008, it will still be a time of consumerism and sense driven, would the femme fatales still be what Jiang Heng has portrayed, timid and flirtatious, perhaps that would be a question to keep in mind.

　　Visual sounds emitted like a sociologist

　　------Cao Zengjie

　　江衡的美女正是我们时代的标本，物质时代的身体标本。当代文化对身体的强调达到前所未有的重视程度，身体与阶级、身体与权力、身体的意义和策略一直是关注焦点，但身体的肉体化和社会化的功能被统一于消费社会的物化和欲望化，因此观赏性、肉体性、细节性等视觉性特征得到前所未有的强化。

　　――――焦雨虹(2008)摘之《东方仕女图式的当代转换――评江衡画作》

　　Precisely, Jiang Heng’s femme fatales are samples of our time, the body sample of a material era. The focus on the body in contemporary culture has reached an unprecedented height, body and class, body and power, the meaning of the body and strategy have always been the points of focus, but the physicality of the body and its social implications have been generalized as the materialized consumption society and our desire for it. For this reason, the decorative, physical, and details of visual characteristics are enforced.

　　----------Jiao Yuhong

　　Modern Transformation of the Oriental Painting on Courtesans – On Jiang Heng’s Paintings

　　江衡的艺术批判更多地对准着当今的消费文化。从一种更宽广角度看，这两种方式对于中国社会转型的艺术表达，都可以进行多方面的理论读解，具有甚多的阐释空间。从美术史上讲，对当前中国消费文化的艺术呈现、艺术思考、艺术批判，是一个正在开始的方向，当这一方向在江衡作品中以美女符号呈现出来时，美术表达与文化内容的关系，得到了在美术上和在文化上的双重推进。

　　――――张法(2008中国人民大学)

　　摘之《作为中国消费时代象征的美女和由美女象征的中国消费时代——江衡的美女形象系列读解》

　　Jiang Heng’s work focuses on today’s consumption culture. From a broader perspective, both these approaches provide multiple theoretical interpretations on China’s social transition, all of which offer rooms for interpretation. Art historically, it is the beginning of artistic representation, reflection, and criticism on the current consumer culture in China. Jiang Heng’s symbols of femme fatale push forward artistic cultural representation in terms of artistic expression and cultural content.

　　Zhang Fa (People’s University of China)

　　The Femme Fatale as the Symbols of Chinese Consumer Society and the Chinese Consumer Society Symbolized by Femme Fatale

　　---Interpreting Jiang Heng’s Femme Fatale Series

　　20世纪艺术中的“美学的麻木化”现象，不仅体现在丑上，而且体现在非人性(inhuman)上。早在1913年，阿波利奈尔(G. Apolinaire)就曾经说过：“首要的是，艺术家是一群想要成为非人性的人。他们在孜孜不倦地追求非人性的踪迹。”1925年，格塞特(O. Gasset)做出这样的诊断：现代艺术的典型特征就是“艺术的非人性化”。梅洛·庞蒂(M. Merleau-Ponty)在1948年评论塞尚的绘画时指出，它揭示了“人类栖居其上的非人性的自然基础”。阿多诺(T. Adorno)在他死后出版的《美学理论》中用其惯用的辩证风格断言，“艺术只有诉诸非人性的追求才是忠于人性的。”[i]

　　20世纪的艺术之所以拒斥美，原因在于要揭示非人性，之所以揭示非人性，原因在于要让人变得更人性。如同荀子的性恶论那样，目的不是弘扬人性中的恶，而是要正视进而彻底改变人性中的恶。也许丹托担心，如果让艺术去追求美，就有可能不能实现它的批判或者教化功能，因为人们为被作品中的美和由美引起的愉快情感所吸引，从而会削弱作品的批判力量。

　　然而，江衡的艺术却告诉我们，对于非人性的揭示，不一定非得求助于丑;通过美，同样也可以揭示非人性。江衡的作品多以美女为题材，然而所有美女都被转变成了非人性的卡通。人性的复杂、深度、恒久等特征，在江衡的卡通美女中已荡然无存，剩下的是浅表、瞬时、易碎等非人性特征。江衡作品中的美女不是现实生活中的美女，而是美的精灵或幽灵。

　　――――彭锋摘之《美的回归还是美的滥用?——由江衡的作品引发的思考》

　　The phenomenon of “aesthetic insensitization” of art in the 20th century was not only reflected through ugliness, but also on inhumanness. As early as 1913, G. Apolinare has once said, “Primarily, artists are a group of people who want to become inhumane. They are persistently pursuing traces of inhumanity.” In 1925, O. Gasset has made such diagnosis: the typical characteristic of contemporary art is to “make art inhumane”. M. Merleau-Ponty had pointed out in 1948 in a criticism on Cezanne’s painting that it has revealed, “the inhumane natural foundation where humans dwell.” Theodore Adorno use his dialectical style in Aesthetic Theory, published before his death, “Only when art resorts to the pursuit of inhumanity would it obey human nature.” [1]

　　The reason why art of the 20th century rejected beauty resides in its revelation of inhumanity, and the reason accounts for that is in hoping to make men more humane. Just as Xunzi’s theory of the sinful nature in human, its goal was not to exemplify the perniciousness in human nature, but to ameliorate it. Perhaps Danto’s worry of allowing art to pursue beauty, it might not be effective in its critical or didactic functions, because people would be attracted by the beauty and the pleasant emotions evoked, by which its critical strength would be diminished.

　　Yet, Jiang Heng’s art tells us, one does not necessarily have to resort to ugliness in revealing inhumanity; through beauty, it is also possible. Jiang Heng’s art portrays mostly femme fatale, yet all of them are transformed into inhumane comic figures. The characteristics such as complexity, depth, and eternity of human nature can no longer be found in Jiang Heng’s comic figures of femme fatale, what is left are the inhumane characteristics of superficiality, ephemeralty and fragility. The femme fatales in Jiang Heng’s art is not those of everyday life, but the spirits or ghosts of beauty.

　　The Restoration of Beauty or its Abuse? – Thoughts provoked by Jiang Heng’s works

　　Peng Feng

　　早在20世纪30年代，本雅明在其《机械复制时代的艺术作品》一文中曾对传统艺术和现代艺术进行了一个著名的区分：传统艺术具有一种独一无二性的“光晕”，这正是其艺术魅力之所在;现代艺术的本质则在于其“可复制性”，复制导致艺术“光晕”的消失。在此我提及本雅明并不是要对其理论进行评述，而是想借用他的区分来区分“美”和“时尚”。在我看来，美的事物都散发出一种独一无二的“光晕”，这种光晕隐含着某种不可穿透的神秘，使其构成独特的无可替代的“这一个”，而令人流连忘返，心神迷醉。而“时尚”的本质恰恰在于其无穷的可复制性，独特的“这一个”从来就不可能成为某种时尚，正是某种东西的不间断的复制，汇聚起来便形成一种时尚。

　　在此意义上说，江衡的作品可以看作是对我们当下时尚社会的一种形象表达。作品中一系列相互复制、没有个性、没有灵魂的快乐时尚美女形象，恰恰构成对时尚本质的一种揭示。

　　――――董志强摘之《失去灵魂的维纳斯——江衡作品解读》

　　美国作家马克·吐温有一本小说《汤姆·索耶历险记》，有评论者说，这部小说是为儿童写的，但成年人读了，也能对自己的童年有一个美好的回忆。英国作家詹姆斯·巴里也写了一本小说《彼得·潘》，写一个拒绝长大的小孩彼得·潘，读起来能使人忘记尘世的烦嚣和纷扰，找回一丝宁静和纯真。

　　读完这些儿童小说，再来看江衡的画，会有一种奇特的感受。那些小说是写给儿童看的，用成人的眼睛看儿童，看到了生活中纯真的一面。江衡的画则正好相反，是画给成人看的青春启示录。在这里面，有儿童的趣味，有儿童式对纯真的追求，但却有着儿童所没有的对生活的深入理解，有对世道人生的深深的忧虑。

　　――――高建平(瑞典乌普萨拉大学美学博士)

　　摘之《从“太虚幻境”到“失乐园——江衡作品一瞥》

　　The American writer Mark Twain’s novel The Adventures of Tom Sawyer, believed by some critics as written for children, that could also evoke the adult’s wonderful memories of their childhood. The British writer J.M. Barrie’s Peter Pan depicts Peter Pan’s refusal to grow up that allows the reader to forger about all the worldly noise and disputes in exchange for a moment of tranquility and innocence.

　　Looking at Jiang Heng’s paintings once having read these children’s stories, one’s impression of it would be unique. Those novels are written for children, yet looking at them from the adult’s perspective at children, we receive the innocent facet of life. Jiang Heng’s paintings are of the contrary. They are paintings of youthful enlightenment for adults. Here, there are childish characteristics, and the children’s pursuit for innocence, but also one’s deep understanding of life that is absent for children, as well as one’s profound anxiety of the world.

　　From “Visionary Emptiness” to “Lost Paradise” – A look into Jiang Heng’s work

　　Gao Jianping (Ph.D candidate of Uppsala University of Sweden)

　　江衡的“后卡通”油画系列全然无视北方学界主流意识形态的喧嚣，完全以一种释然的平静和简单的纯粹在康德古典美学倡导的“无目的的合目性”中，平平谈谈地摇拽着自己的视觉造型。

　　江衡的“后卡通”油画系列就是南方区域这个时代在他们这一代人的视觉体验中经历的主流艺术，罗中立们是触及现实对“父亲”及中华民族传统的苦难进行叙事的“反思一代”，江衡们也是触及现实对当下后现代都市文明给予视觉艺术打造的“卡通一代”。

　　――――杨乃乔(2008于复旦大学)

　　摘之《天真的纯粹与平静的简单——评江衡的“后卡通”油画系列及其对主流意识形态的全然失忆》

　　美术理论家贡布里希有一句名言：“绘画是一种活动，所以艺术家的倾向是看他要画的东西，而不是画他看到的东西。”在今天这个欲望喷涌和体验翻新的消费文化时代，贡布里希所揭示的原理是否还适用呢?如果你去琢磨江衡的美女系列作品，也许会有所发现。在他的图像学里，一个独特的图像形态——美女——跃然画面。更有趣的是，这些长相各异的美女脸上，一个突出的图像符号一以贯之：大得不合比例的眼睛。那一对又一对大眼睛正凝视着什么?当你作为观者去凝视这一凝视时，又会有何种发现?

　　性感的艳俗在江衡笔下的美女那里已经不再是什么新鲜主题，他要表达的也许是眼睛与世界的象征关系：这是一个受到视觉统治的时代，生存的快乐和体验有赖于视觉的把握。由此，江衡的美女系列作品便越出了美式波普艺术的艳俗性感窠臼，切入一个当代文化的视觉主题：看的质询性。王尔德早就指出，看一样东西与看见一样东西全然不同。我们可以天天看世界，却有可能什么也没有看见。江衡美女系列那瞪大的眼睛和富有穿透力的目光，或许是在质询看本身，召唤看的在场，把看径直转变为看见。因为“事物存在是因为我们看见它们，我们看见什么，我们如何看见它，这是依影响我们的艺术而决定的。”(王尔德语)这不正是画家想要我们明白的真相吗?

　　――――周  宪 (南京大学)摘之《用眼光质询存在》